The Dreamboy Has Something To Say. We Should Listen
One of the best things I’ve taken from Twitter is the quote that said “____ is good when you don’t have a bitch in your ear telling you it isn’t.” This could apply to many things and it is particularly relevant to Lil Nas X - especially as he invites us into this Dreamboy era.
I enjoy listening to queer and TLGB rappers and hold a special place in my heart for them. There’s Mista Strange, Kotic Coture, DDM, Mykki Blanko, Queen Latifah, Indapond, and so many who could outrap ya fav on any beat. The cisheteronormative structures that dominate hip-hop erase many voices whose technique and craft stand on their own merits. It’s really such a shame how systems of hierarchy elevate mediocrity. It’s even more unfortunate that this sentiment is understood amongst the lines of race, but rarely under the lines of gender and even less understood on the lines of sexuality.
Nonetheless, my ears and attention have finally circled back to Lil Nas X who’s recently dropped 5 singles that have stunned (word to Popcrave) me with their maturity. His debut album MONTERO was released in 2021, leaving a four year gap that allowed him to restart. 2022’s “Late to Da Party (F*CK BET)” filled in the gap with a diss track aimed at much-deserving BET. That brings us to now where the 25-year old artist from Atlanta has come back talking his shit.
“RIGHT THERE!” is a probably my favorite of the singles, where Nas X comes on the beat sounding like the fourth Migo (RIP Take), but unlike a tragic rip-off, this energy feels completely his. I do wish I could hear a “Momma!” in the background. Then you get “BIG DUMMY!” which makes me wanna two-step with its “Super Mario 8 type beat” instrumental. One of the earliest promoted singles, “HOTBOX” is a Pharell-esque bop that comes with a fun video featuring Nas X in a variety of different characters outfitted in pink - a color that seems to be the central theme of the era. It’s still camp. It’s still very much Lil Nas X.
For Lil Nas X, a lot of the criticism has come from both inside and outside Black TLGBQ audiences. Early Nas X was seen as too campy and relying on “rage-bait” gimmicks such as satan aesthetics. The songs also didn’t seem all that good to me. “Old Towne Road” was everywhere and it definitely gave industry plant. I wanted to like “Panini” but I was so turned off by the rhyming of “panini” with “meanie” and felt the song was rather elementary. When I think of the difference of who I was at 19 versus who I was at 25, I realize so much more grace is needed for all the critique. I think a lot of us also have to keep in mind that we aren’t the audience for everything.
But then I heard “HE KNOWS” from Camilla Cabello’s masterpiece “C,XOXO” and figured it may be time to tap in with Naserati again, so I listened to “LIGHT AGAIN” rather impressed with the song and accompanying music video. I’m unsure where the song, or it’s follow-up “need dat boy” fit in to this era, or maybe they’re just loosies. The two have similar aesthetics, with the latter featuring Destin Conrad on the cover in a tragic red herring that didn’t amount to an appearance on the song. Nonetheless - without the two songs - the era is very much exciting and there seems to be more to look forward to with this era as Nas hinted.
Beyonce was 24 when she made “Deja Vu”. Lady Gaga was 25 when she made “Judas”. I’m excited for this Dreamboy era. If there’s a tour for this era I will be there. Next thing I want to hear is our Dreamboy on a Byrell beat with Princess Precious.