Ink Tone Swep Images Gabe Shaddow Publicity c/o Warner Records Location Wynwood Art District, Miami, Florida
Most discussions with Lil Pump as the topical centerpiece first cite the Miami native’s extensive list of hit songs as sonic love at first site – everyone hearts a hitmaker. None of Pump’s streaming products seem targeted to radio, so although many end up airwave friendly, his sound remains one representative of the underground as this audience is the primary key to his rapid rise to stardom. These days the internet is the streets.
From his auspicious entrance into this 24-7 festival called the rap game, Pump established himself a hitmaker with standouts like “Elementary”, “Ignorant”, “Gang Shit”, and “Drum$tick”. But it was the mantra party infected bonfire flamed flows on “Boss” and “D Rose” that effectively crowned the fashionable phenom king of the kids, most talented teen, most likely to achieve mega star status, self-made media’s most sociable; it’s like 2016 was Pump’s yearbook and all his rap classmates cosigned his shine and named him class valedictorian and class clown in one. The artist’s eponymous debut was certified Gold, the singles charted, and Pump continued to flourish as a live performer worldwide.
Make no mistake, Lil Pump is Miami’s most popular artist, and though “the bottom” has consistently delivered young talent such as Ace Hood and Brianna Perry, none have enjoyed Pump’s impact. He is essentially the city’s singularly defined trap-pop star. His youthful success is the arguable stage-setter for City Girl’s national embrace. And in the frighteningly common era of rap’s brightest young emo trappin’, mumble rappin’ talents, their self-destructive tendency is to either overdose on the drugs they dream sequence about (Lil Peep, Mac Miller), or succumb to the user generated content fueled jealousies leading to their violent deaths (XXXTentacion, Lil Snupe, Chinx Drugz).
They either find themselves component to a continuously patterned pendulum swing from freedom to incarceration due to playing defense against impending death (NBA Youngboy), or shamelessly pretending to be a gangsta only to fall into its common pitfalls and unabashedly follow said circus act by becoming this generation’s Benedict Arnold (6ix9ine). To his credit and as a testament to God’s grace, Pump has avoided these tragic paragraphs, instead living his life sentenced only to the paper college’s rule. Pump has remained intact and on track in pursuit of success and superstardom.
Last year Pump prepped music listeners for another big year and a follow up project with electro bounce and improved lyricism on “Esskeetit”. The song was a hit, the word became both catchphrase and clothing line, all while preparing fans for a new album in the star feature laced “Harverd Dropout”. Avoiding the sophomore slump cemented Pump’s place in music. If celebrating high functioning dope dependency is indeed a staple in mumble rap, Lil Pump may be the ambassador, the prototypical look sound and swag, the facially tatted crayola dread pushing foreign exotics worth half-a-million down all oceanfront freeways in America – singing about drug use, someone else’s girlfriend, and new money in the flyest fashion:
“Poppin’ on X, Poppin’ on X, Poppin’ on X…, Pills / Got a New Car, Got a new B!tch, and I Got a new Deal.” Harverd Dropout was certified Gold last month, and as we prepare for the reported third album from the rapper, rumored as titled “Lil Pump 2”, one can only wonder what newness he will bring to the game – but a few things are predictably certain – loud colored apparel, sardonically comedic Gram posts, hit songs, charting albums, bluechip whips with butterfly doors and, well… the promise that he will f*uck each and every last one of our b!tches.