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Strictly For The Bad & Boujee: The 25 Essential Migos Songs And Features

Take these 25 examples with you the next time you need to argue about the Migos' greatness. 

If Hollywood wasn't fully aware of Migos before the 2017 Golden Globes -- they are now. During the show, the rap group was shouted out by none other than surprise Golden Globe winner, Donald Glover. Prior to the namedrop the ATL trio relentlessly released music to create their own mark in this particular era of Hip-Hop. The squad’s influence has been so strong that their well cultivated swagger has deeply penetrated pop culture like a hypodermic needle.

After developing and maintaining a cult-like following with their ever growing catalog of mixtapes and albums like No Label 2, Rich N***a Timeline, Y.R.N, and Back To The Bando, the group introduced the world to one of the biggest dance crazes of this decade: The Dab. The viral dance move was then popularized by Carolina Panthers quarterback Cam Newton.

READ: Migos’ ‘Bad And Boujee’ Is Now The Number 1 Song In The Country

However, it was undoubtedly Donald's Golden Globes shout that cemented the group's place in Hollywood. To the surprise of the mostly middle aged crowd, his random salute to Migos and their song, “Bad & Boujee," have helped the fellas level up in 2017. “And I really want to thank the Migos, not for being in the show, but for making ‘Bad & Boujee’. That’s like the best song…ever,” said Glover during his speech.

Later on in the evening, he then dubbed Migos as this generation’s The Beatles. “They don’t get a lot of respect outside of Atlanta. "There’s a generation, the YouTube generation that I came up with, that are growing up with something separate from a whole group of people. Honestly, that song [“Bad & Bougie”] is just fly. There’s no better song to have sex to,” said Glover who also released his critically acclaimed album Awaken, My Love, this past December.

READ: Donald Glover Dubs Migos “The Beatles Of This Generation”

While Quavo, Offset, and Takeoff have yet to reach the same artistic and cultural success as the band who led the British Invasion, Glover has a strong point in spite of this. Since the release of their very first official mixtape Jugg Season in 2011, Migos -- within the span of six years -- have slowly but steadily climbed to the top of the game.

Despite their well-documented ups and downs, they have created an extensive resume of 16 mixtapes, many, many Billboard chart topping singles, two Gold plaques (four if you count Quavo’s features), scores of features across many genres and tons of praise from their peers.

Regardless of their influence on youth culture there are still a lot of folks in the world who either don’t know, don’t show, or just refuse to care about the strong armed reign of Migos out here in these streets (word to Doughboy). So, for all the uninitiated, VIBE presents 25 essential songs and features from the trio thus far.

Turn the bass up as loud as possible as you enjoy some of their biggest and best records to date. Dab on em’!

"Versace" – Y.R.N. (2013)
Migos’s 2013 ode to the pricey high-end clothing line was one of their first really successful records that helped launch them into the national spotlight. It became so popular that Drake eventually hopped on the remix and gave them one of most memorable feature verses of his career. The song has earned Migos their first gold plaque and remains as one of the most important records of their career

"Fight Night"- No Label 2 (2014)
“Fight Night” is another one of their breakthrough records that landed all over the radio in 2014. The beauty behind the song is how they show their ability to make conceptual hit records based on a simple, yet well executed simile that turned out to be fan favorite. Plus, the gaudy visuals does a great job at bringing their musical imagery to life. It also became the group's second gold record.

"Bad & Boujee" feat. Lil Uzi Vert – Culture (upcoming)
One of their latest bangers from their forthcoming Culture album has grown to become one of their best songs to this day with its brooding production, polished flows, and hilarious visuals. Could it be safe to call it a future Hip-Hop classic record after Donald Glover showed it some love at the Golden Globes? Maybe.

"Young Rich N****as" – No Label 2 (2014)
Not to be confused with the song of the same title on the first YRN mixtape, the No Label 2 version stands out as a celebratory anthem about being young, rich, and straight from the trap. The use of the “Notorious Thugs” sample on the beat was well executed.

"Dipset" Lil Yachty feat. Offset – Summer Songs 2 (2016)
To some degree, this is an underrated record in both Lil Yachty and the Migos catalog as both artists have some fun and spit over a reworked “Green Bird” sample from the legendary anime series Cowboy Bebop with smooth trap production that works like peanut butter and chocolate. Offset murders the track with his nimble flow and bounces over the track with ease. Now, how this song has any relevance to The Diplomats is another story.

"Cocoon (Remix)" feat. Young Thug (2016)
Although the original version of “Cocoon” was solid in its own way, the remix with fellow ATLien Young Thug pushed the song forward as their cultivated chemistry shines bright. Not to mention that this was released around Thugga’s birthday which makes this much more significant.

"Add It Up" – No Label 2 (2014)
This track is another banger from their No Label 2 mixtape that is debatably the most turnt song of the whole project. “Add It Up” gives listeners a sinister, bass heavy Nino Brown-esque vibe that is matched with the Migos' high and frantic energy from their flows. Its thematic nature brings fans right into the pulsating urgency of the trap without ever having to go to it.

"F Cancer" - Young Thug feat. Quavo – I’m Up (2016)
This uplifting anti-cancer song pays homage to Boosie Badazz during his recovery from kidney cancer. The song is one of the more memorable contributions from Young Thug and Migos’s catalog -- not just for their individual performances, but it leads to one of the most heartwarming videos of 2016.

"Handsome and Wealthy" – No Label 2 (2014)
“Handsome and Wealthy” is the record that helped make No Label 2 the modern classic that it is today. If one does not remember this joint for any other reason, it should be remembered for having one of Quavo’s best hook performances -- and Takeoff’s standout verse.

"Bando" – Y.R.N. (2013)
“Bando” is one of their most popular street records to this day. In 2013, it flooded the streets of Everyhood, USA, beginning with Atlanta. The tafk also helped popularize the term “Bando” -- which is an abandoned house used to sell drugs. The gritty visuals shows that Migos are not just about shiny chains and expensive things.

"Pipe It Up" – Young Rich Nation (2015)
This song is arguably one of their most lit records of all time. And at the least, it’s top five because this was not only one of the signature songs that helped popularized The Dab, but Quavo lights the pounding production ablaze with stand-out bars like, “Feeling like Aladdin, Quavo the genie, I grant your h*e three wishes/You know I do magic, Quavo Houdini, I touch the pack, get it missing.” Its nonstop energy makes it an all time Migos classic -- and the visuals were not too shabby either.

"Key To The Streets" YFN Lucci feat. Migos & Trouble - 2016
Out of Migos extensive catalog of features, “Key To The Streets," stands out because their contributions are what helped push YFN Lucci’s breakout single to the masses. While Migos and Lucci have somewhat similar sounds, it was those similarities that helped make this a cohesive hit melded by great chemistry. Especially with Quavo and Lucci together on the hook.

"Wishy Washy" – Rich N***a Timeline (2014)
“Wishy Washy” is a rare moment when they go outside of the drug game and into other subject matter. This track helps the guys address their inner turmoil -- where they expand on the inconsistent, disloyal, and gold-digging women who aim to break hearts and pockets alike.

"Freak No More" – No Label 2 (2014)
Unless you’ve never listened to Migos before, one should understand that strip club anthems are just as prevalent in Migos’ catalog as their catchy trap records. And “Freak No More," which was shot at the world famous Magic City, stands out because it's dedicated to women who often contemplate leaving the adult entertainment. Equipped with well-developed verses from each member, “Freak No More” grew to become an important staple in their discography.

"Origin" – YRN The Album
As one of their more unique records, “Origin” features Migos recalling their rise to fame and touches on the tribulations throughout their lives. Although it carries plenty of trap talk, it shows their more reflective aspect to their music.

"Look Alive (Remix)" Rae Sremmurd feat. Migos
For all intents and purposes, if Migos are The Beatles of this era, then Rae Sremmurd has to be The Rolling Stones. On Swae Lee and Slimm Jxmmi’s atmospheric banger, “Look Alive." Migos added their saucy flare to create an incredible remix.

"Moses" French Montana feat. Chris Brown & Migos – 2015
French Montana tapped Chris Breezy and Migos to create one of the biggest songs of 2015. The best thing about the group is that whenever they do features, the fellas often add vital elements to songs such as extremely high energy. Their rapid fire flows works perfectly on the track, making “Moses” one of their most memorable features.

"Hannah Montana" – Y.R.N. (2013)
This is another one of their first breakout hits from the first Y.R.N. mixtape. “Hanna Montana” is a fun, hype, and catchy ode to that infamous “white girl” and late night trapping. In 2013, they gave clubs and parties across the country a one-two punch with “Versace” and “Hanna Montana." The movement created a strong foothold for Migos.

"One Time" – Young Rich Nation (2015)
If there’s one thing that Migos do best it’s creating songs that become addictions. Sticking to their tried and true formula, “One Time” is a strong and polished version of the sound they created before the Young Rich Nation album. Not only that, but it also features one of Quavo’s strongest rap performances.

"Look At My Dab" – Back To The Bando (2015)
Out of every hit record that Migos have produced, there is very few like “Look At My Dab." It really took the world by storm and will likely be remembered as a song that pioneered the dance.“Look At My Dab” became a mainstream phenomenon across the country that had everyone from kids, pro-athletes, to many celebrities joining the dance craze. The one travesty in all of this is that Migos were not invited to the 2016 Super Bowl to perform the hit, which practically served as Cam Newton’s theme song.

"Show Ya P***y" R. Kelly feat. Migos and Juicy J – Black Panties (2013)
As the only song on this list lead by an R&B singer, “Show Ya P***y” is a blatantly outlandish track that works the Migos style to perfection with fellow legend Juicy J along for the ride. Whether or not one would consider this one of R. Kelly’s finest moments is up to the listener, but one thing that’s for sure, Migos flourishe all over this song.

"Ray Bans" – Jugg Season (2011)
"Ray Bans" puts the Migos on front street in their rawest form -- and we know all their day-1 fans appreciate the track. While Jugg Season is a very rough and raw project that is a far cry from the amazing work they have produced in later years, “Ray Bans” shows flashes of the incredible talents the group have since improved on.

"Bad Intentions (Remix)" Niykee Heaton feat. Migos
The “Bad Intentions” remix is not only their biggest "pop feature" but also one of the best videos they have been a part of. And that says a lot because Migos has produced some very well thought out and interesting videos throughout their career so far. The two genres blend very well to create one solid banger without compromising the trappers' styles A scantily clad Niykee Heaton plays her role as a bank robber very well. In the video, she eventually has the trio all turn on each other. Bad intentions indeed!

"First 48" – No Label 2
Featured on the phenomenal No Label 2, Migos takes a darker and more sinister route on “First 48”. The menacing track is arguably one of their best street records with a serious warning to all of the jackers, robbers, and snitches.

"Black Man" T.I. ft Quavo, Meek Mill, & Rara) – Us or Else
Out of all of the features that Migos and their individual members have been featured on, “Black Man”, with its socio-political context makes it all the more surprising. Nevertheless, Quavo makes his presence known and shows that Migos can extend themselves beyond trapping and loose women to take on more pressing issues.

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Kirk Franklin And Fred Hammond's 'The Healing' Was More Than A Verzuz Event

Verzuz has been helping fill the void for live musical entertainment and, to an extent, live sports for two months now. On Sunday (May 31), the newly launched platform provided us with a digital worship service by way of gospel greats Kirk Franklin and Fred Hammond.

As the online music battle has grown from producers to artists, Swizz and Tim have been transparent about their efforts to make Verzuz musically inclusive, starting first with giving women some much-needed representation and now expanding into different genres — because Black music is more than rap and R&B.

In April, contemporary gospel greats John P. Kee and Hezikiah Walker organized their own matchup that Timbaland (a COGIC kid himself) and Swizz cosigned and promoted, proving the desire and demand for a Gospel Verzuz outing. Fans have also requested to see Kirk participate because of his hip-hop based productions and his mainstream familiarity. But Sunday’s Kirk Franklin and Fred Hammond pairing, while full of the progressive gospel sound both men are famous for, was straight-up church.

Between the time Timbaland and Swizz announced the special event earlier this week—billed as “The Healing” and featuring opening words of prayer from Bishop TD Jakes—and Sunday, escalation of protests sparked by George Floyd’s murder at the hands of a Minneapolis police officer has literally spread like fire to cities across the country and world. Video and news reports are coming in with furious speed. Peaceful protests are morphing into violence at the hands of agitators. People are furious and scared.

Franklin and Hammond had a large responsibility on their hands yesterday; a delicate balance to maintain. These are moments when even the churched don’t necessarily believe the church can help. But the men of God met the task, setting the tone from the very beginning by appearing in shirts that said: “I Can’t Breathe” (Franklin) and “I Can’t Breathe - Again” (Hammond). Over the course of the event, they mixed straight talk, spiritual encouragement, prayer, and proper acknowledgment of the chaos waiting for us all after we eventually clicked out of the Instagram Live.

Even though Kirk came with and maintained a good-natured “battle” energy, this was ministry and fellowship, not a match. So instead we’re going to review each round with an “and” instead of a “vs.” These two brothers in music ministry were building on and adding to each other’s energy over the course of 2.5 hours. Much like Beenie Man and Bounty Killer's session, this was more a concert than a competition. And the spirit in the room (plus the anointed sound quality) blessed our souls so much that we were willing to forgive the slight social distancing infractions. Even Instagram (allegedly) sent a message for them to ignore the 90-second copyright restrictions and let the spirit move.

ROUND 1: Fred Hammond's “I Am Persuaded” and Kirk Franklin's “He’s Able”

Both Fred and Kirk pulled out early signature songs to set the tone; Fred with the title track from his first solo album, and Kirk with one of the singles from the Kirk Franklin and the Family album. Both songs highlighted how each artist were trendsetters in the contemporary Gospel sound with their music’s early ‘90s New Jack Swing influence.

ROUND 2: Fred Hammond & Radical For Christ's “When the Spirit of the Lord” and Kirk Franklin's “Brighter Day”

Everyone knows Kirk Franklin has jams, but Hammond’s music is mostly known by those who put in years in the youth and young adult choirs, and those who came up in strict households with no secular music. But on Sunday, everybody learned that Frederick also has jams that will make you “dance like David danced.”

Kirk followed with another classic Family joint, and the tenors watching from home stepped up in their collective living rooms to hit that “brighter day” with their chest.

ROUND 3: Fred Hammond's “Awesome God” and Kirk Franklin's “He Reigns/Awesome God”

Kirk and Fred were working from a list, which suggested they coordinated at least parts of their lineups, leaving room for head-to-head rounds like this. If this was a scored match, however, Franklin would get this point. “He Reigns/Awesome God” isn’t his original work, but he flipped and updated it as only he can, and it instantly inspires whatever choreography listeners learned in the afore-mentioned choir 20 years ago.

ROUND 4: Commissioned's “Strange Land” and Kirk Franklin & Georgia Mass Choir's “Joy”

Again, this Verzuz wasn’t just about music, it was about music ministry, and both Franklin and Hammond wove moments of preaching, proclamation, and encouragement throughout. As Kirk had acknowledged at the beginning of the event that some people didn’t even want to hear about Jesus right now, Fred addressed the thought that Christians are just waiting on a “kumbaya moment.” He “(took) it back to Detroit” and played the first song of the night by Commissioned—his former gospel group—“How Can We Sing (In a Strange Land),” which spoke to the seeming futility of something like today’s Verzuz: singing for help in the midst of crisis.

If you're asking How can we sing When we're in a strange land How can we face adversity whoa whoa How can we stand in the midst of trouble When the enemy laughs at our beliefs Won't you take some time to realize You're His own that's why He died

Kirk also reached back to a foundational record; the first song he ever wrote as the young music director of the Georgia Mass Choir. “Joy” is probably the most traditional song in Kirk’s catalog, prompting him to declare that folks probably wouldn’t know it “if your grandmama ain't got peppermint wrapped up in pieces of toilet paper in her purse.” (If you didn’t get that reference, he’s right.) “Joy” is also one of the few songs Kirk actually sings lead on, which is probably why he didn’t play more than a short clip.

ROUND 5: Fred Hammond's "Prelude" (from Love Unstoppable) and Kirk Franklin's “More Than I Can Bear”

Hammond, who provided most of the afternoon’s solemn notes while Kirk mostly kept the energy up, chose a prelude his son and daughter recorded to open his 2009 album as an avenue to share his concern about his own son, a 6’2”, 22-year-old Black man. Kirk picked up the acknowledgment of pain, fear, and uncertainty with The Family’s “More Than I Can Bear,” and then jumped on the keyboard to follow it up with a reprise. This was the first shouting moment of the day.

ROUND 6: Commissioned's “King of Glory” and Kirk Franklin's “Looking for You”

When Franklin and Hammond announced surprises at the top of the first hour, it was a safe assumption that some collaborators were spread out throughout Franklin’s house. First up; Hammond’s former Commissioned group member Marvin Sapp. When the group was already well established, Sapp joined the Commissioned in 1990 and his voice fit right in. The two shared the first single, featuring the then-22-year old, which is now one of Commissioned's signature songs.

This was a turn-up round, so Franklin followed up with the high energy, Patrice Rushen sampled “Looking for You,” but first...

BONUS: Marvin Sapp's “Never Would Have Made It”

Marvin ain’t break social distancing just to sing over the radio track for “King of Glory.” Franklin introduced him with a quick note of “Never Would Have Made It,” Sapp’s powerful 2007 testimonial praise and worship anthem. Sapp feigned reluctance to sing the whole song, but we all know that’s what he was there for. That was the second shout of the day.

ROUND 7: Fred Hammond's “Glory to Glory” and Kirk Franklin's “Hosanna”

This was the praise & worship round: songs with relatively simple and repetitive lyrics that are often used to set the tone in worship. Gospel music contains and or reflects scripture; praise & worship is exactly what the description says and what the lyrics of Hammond and Franklin’s respective selections express:

Let the people praise Him, rejoice in all His goodness, and be thankful for all He has done. - "Glory to Glory"

Hosanna forever, we worship you - "Hosanna"

ROUND 8: Fred Hammond's “Please Don’t Pass Me By” and Kirk Franklin's “Something About the Name Jesus”

Kirk and Fred were a perfect pairing for this Verzuz edition because they both bridged gospel and secular music in groundbreaking—and at times controversial—ways. Fred and former group Commissioned are credited with influencing a generation of male R&B singers; he mentioned later how church elders and gospel traditionalists wouldn’t support Commissioned because they wore jeans on the album cover. Similar to Kirk, Fred’s been known for music that sounded more like something you’d hear on mainstream radio than anything you’d hear in church. Case in point: the music bed for “Please Don’t Pass Me By” brings R&B group 112’s “Cupid” to mind.

In contrast, Kirk responded with the old-school-styled “Something About the Name Jesus” featuring gospel OG Rance Allen and gospel Men of Standard from Franklin's 1998 The Nu Nation Project.

ROUND 9: Fred Hammond's “Jesus Be a Fence Around Me” and Kirk Franklin's “Love Theory”

Rounds 8 and 9 illustrated how this was more of a digital concert than battle; selections that felt more like a well-curated playlist than a back and forth of comparative tracks.

Perhaps taking a cue from Kirk and “Something About the Name Jesus,” Fred shared some of his influences before offering his rendition of gospel standard “Jesus Be a Fence Around Me.” Even though the song is now a standard for church elders, the singers who first popularized it—original writer Sam Cooke with legendary gospel group The Soul Stirrers, soul crooner Lou Rawls with The Pilgrim Travelers (the version closest to Fred’s), and Supreme’s influences The Meditation Singers—were all known for toeing the line between R&B and pop and traditional gospel in their time.

Kirk followed with the lead single from his most recent album, 2019’s Long, Live, Love, a bop (a whole bop) that sounds a million miles away from “Jesus Be a Fence Around Me” and in fact complements Fred’s choice; It’s also about Jesus being a protector. And Kirk blessed us with a little choreography.

ROUND 10: Commissioned's “Love is the Key” and  Kirk Franklin & The Family's “Now Behold the Lamb”

Even if Kirk hadn’t announced what song he was about to play, hands would have shot up in preparatory praise as soon as he played the opening keys of “Now Behold the Lamb.” Originally on The Family’s 1995 Christmas album (Kirk Franklin & the Family Christmas) and featuring vocals of original members-turned- TV-stars David and Tamela Mann, the song still has the power to quickly bring listeners to tears, 25 years later.

ROUND 11: Kirk Franklin's “Revolution” and Fred Hammond's “Let the Praise Begin” 

Before starting this round, Fred and Kirk took a minute to say the names of the Black men whose lives have been unjustly cut down by police or self-appointed vigilantes. (They took a moment later to add the Black women they neglected to initially include.) As protests rapidly grow across the country with many having morphed into riots, Kirk Franklin's Rodney Jerkins-produced “Revolution” hit even harder than usual.

On Fred’s turn, he demonstrated his secular influence again with “Let the Praise Begin”—which Chance the Rapper sampled on his Coloring Book mixtape, “Blessings”—a track the rapper used for an unofficial altar call at the end of his live performances.

ROUND 12: Kirk Franklin's “Silver and Gold” and Fred Hammond's “All Things are Working”

As mentioned earlier, the primary difference between traditional gospel songs and praise & worship songs is the lyrics. “Gospel” is, by definition, from the actual gospel: scripture. Kirk and Fred are both part of a generation of contemporary gospel singers that have been somewhat chided for gospel music’s transition into more of a praise & worship space, but both also have deep foundational gospel roots. These two songs are each prime examples, both taken directly from scriptural influence:

“Silver and gold have I none; but such as I have give I thee” - Acts 3:6

“And we know all things work together for good for those who love God and are called according to his purpose” - Romans 8:28

ROUND 13: Kirk Franklin's “Imagine Me” and Commissioned's “Ordinary Just Won’t Do”

If these rounds were themed (I’d love to see their notes), Round 13 was about finding unconditional love and trust in God.

Imagine me, being free, trusting you totally, finally, I can Imagine me I admit it was hard to see You being in love with someone like me But finally I can Imagine me - "Imagine Me"

The ordinary just won’t do I need a love that's pure and true I can always find it in you Jesus The ordinary just won’t do I gotta have a touch from you I can always find it in you, Jesus - "Ordinary Just Won’t Do"

ROUND 14: Kirk Franklin on Kanye West's “Ultralight Beam” and Fred Hammond on Kanye West's “Hands On”

Some collective digital groans went up amongst those in the house solely for Fred and Kirk jams during the round devoted to tracks each done with Kanye West. For Kirk, the rousing “Ultralight Beam” from The Life of Pablo, which also featured Chance the Rapper and R&B/gospel singer Kelly Price. For Hammond, a track from West’s hotly debated “gospel album” Jesus is King. It did make sense: Verzuz started as a hip-hop-leaning platform. Fortunately, though, both seemed to know this round would change the energy if they let it and kept the moment brief.

ROUND 15: Kirk Franklin's “The Reason Why I Sing” and Fred Hammond's “Running Back to You”

Heading into the home stretch, the men each offered their break-out hits. Franklin’s “The Reason Why I Sing” broke records on gospel, Christian, and R&B radio and set him on the path for mainstream crossover. Commission’s “Running Back to You” is one of many templates the groups inadvertently created for male R&B groups that came along a few years later, having come of age singing and studying the Detroit vocalists’ music. Jodeci’s K-Ci Hailey even ad-libbed part of the chorus, “(My) arms are open wide, and I don’t have to cry no more…” on the torch 1992 track “I’m Still Waiting” from the group’s debut album, 5 years later.

ROUND 16: God's Property's  “My Life is in Your Hands” and Fred Hammond's “They That Wait” feat. John P. Kee

“My Life is in Your Hands” by Kirk's gospel choir, God's Property, feels like a sequel of “The Reason Why I Sing,” so it made sense as Franklin’s next choice.

Hammond’s selection was a collaboration with contemporary gospel great John P. Kee. Even though Kee already had his own Instagram Live match, it was plagued with a muffled sound, so he deserved a moment.

ROUND 17: Kirk Franklin's “I Smile” and Fred Hammond's “You are the Living Word”

Before playing the bouncy “Smile,” Kirk acknowledged that in a week that feels like we’re in a civil war, the idea of smiling is likely difficult (the guys did a solid job of reading the room.)

Hammond in turn played fan-favorite “You are the Living Word” but cut it off just as listeners at home were getting into their parts of the three-part harmony. Kirk knew it was too soon and jumped on the piano keys again so Fred could get to the bridge and we could properly get our sing-along on at home.

ROUND 18: Tamela Mann's “Take me to the King” and Fred Hammond and Radical For Christ's “This is the Day”

Tamela Mann just casually strolling into the studio from making the potato salad for post-battle repast in Kirk’s kitchen or wherever she was didn’t fool anybody. Real ones have known what’s up since we were introduced to her voice over 25 years ago as an original member of Franklin’s Family. I knew she was about to make us cry when memes hit our Twitter timelines before she even opened her mouth. Her live rendition of “Take Me to the King,” a song about those moments when prayer just doesn’t feel effective enough, was so powerful and resonated with the times of right now. If you listened carefully, you could hear her shouting for minutes after she left the room.

ROUND 19: Kirk Franklin's “Melodies from Heaven” and Fred Hammond's “No Weapon”

Kirk had a sense of humor about his reputation as a “secular” gospel artist and called his gorgeous wife Tammy into the room to dance as he played “Melodies from Heaven,” a song that’s been played in many a club and has been remixed with Junior Mafia’s “Crush on You,” a mashup that Kirk himself performs in concert.

Hammond used 2007’s “No Weapon” to bring the tempo down as they prepared to close. After Franklin took a minute to call Wanda Cooper, the mother of Ahmad Aubrey, Hammond extended a prayer of invitation and salvation for listeners. If there’s one moment that defines this Verzuz event as a ministry rather than just musical exchanges, that prayer is the moment.

ROUND 20: Kirk Franklin's “Stomp (Remix)" and Fred Hammond's “We’re Blessed”

The men held their strongest jams for last: Kirk with his 1997 career-defining and genre-changing “Stomp (Remix)" (again, former choir members watching the live stream broke out their choreography without even thinking), and Hammond with 1995’s “We’re Blessed,” a track that runs almost six minutes in length that almost all of us would have been happy for him to play in full.

BENEDICTION SELECTIONS: Kirk Franklin's “Strong God,” Fred Hammond's “Alright” and "My Desire"

As everyone filed out of the digital church and tried to figure out where to go for dinner, Franklin and Hammond each offered one last song.

Kirk played “Strong God” another single from his latest album and announced the video’s Monday release (see below). Hammond also rendered a selection from his most recent album, the title track from 2019’s Alright.

To close it out, the men played their first collaboration "My Desire," off Franklin's The Nu Nation Project.

THE WINNER: While The Healing drew fewer numbers than most of the Verzus of the last month, peaking around 277K, the positive responses were overwhelming. Viewers shared that they felt lifted, renewed, and energized. Some expressed that they felt hopeful for the first time in several days. We all won. But if we have to list specific winners, that run down includes Black folks, church kids, music lovers, the audio, and our collective and communal spirits. And Tamela Mann.

Watch Fred Hammond and Kirk Franklin's The Healing over on Verzuz's official Instagram account.  

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Courtesy of DubShot Records

Boomshots: The Unstoppable Rise Of Dre Island

"We rise to the top," Dre Island sings on "We Pray," his massive collab with Popcaan, "cause we know what it takes."

Building on that theme of musical and spiritual elevation, the multi-talented musician—singer, deejay, songwriter, producer, and pianist—has just released his debut album Now I Rise. The project features the aforementioned "We Pray" as well as crucial collaborations with the likes of Jesse Royal and Chronixx. "Ah mi family dem deh," says Dre Island, who has toured Europe backed by Chronixx's band Zincfence Redemption. A graduate of Kingston’s Calabar high school—alma mater of both Jr. Gong and Vybz Kartel—Andre Johnson aka Dre Island is a living link between the vaunted “roots revival” movement and the sound of the Jamaican streets.

“The revival is really within the people," he says. "Reggae music never stop. Reggae artists always been touring. So it’s just the people’s awareness.” During a time when reggae and dancehall stand at a crossroads, Dre Island has emerged as one of the few artists capable of bringing together dancehall vibes and the ancient roots traditions—not to mention outernational connections like "People" his collaboration with UK talents Cadenza and Jorja Smith. “An island is a small land mass surrounded by water,” the artist told Boomshots correspondent Reshma B in their first interview. “But if you read further it’s also a place where you go to find yourself.”

Released through a joint-venture partnership with New York-based DubShot Records and the artist's own Kingston Hills Entertainment imprint, Now I Rise is a 13-track set that includes the hit single “We Pray” featuring Popcaan, “My City,” as well as the recently released “Be Okay” feat Jesse Royal. Never-before-heard tracks include “Days of Stone” featuring Chronixx and “Run to Me” featuring Alandon as well as tracks produced by the likes of Jam2, Anju Blaxx, Teetimus, Winta James, Dretegs Music and Barkley Productions. The artist is now managed by Sharon Burke, founder of the Solid Agency in Kingston, Jamaica. Earlier this month, Dre Island premiered the official music video (directed by Fernando Hevetia) for the last song on the album, “Still Remain.”

“This album speaks of arising, growth, new beginnings and emerging from the ashes," Dre Island states. "At this time, these are all the things we need based on what is happening right now. The truth is, since 2015 I have been advertising that the album is coming. It has been five years and the time is right. As an artist and person Dre Island move different. I embrace Rasta and this way of life, but I am not part of any group like Boboshanti or Twelve Tribes. Everything I do is inspired by the father. I am moved to drop this album at this time because I am divinely inspired to do so. When you look at a song like “We Pray” I can take no credit for a song like that. Yes I wrote the lyrics and built the rhythm and I voice the track, but it's a prayer, not just a song so how a man fi tek credit for something that come from above.”

Dre Island and Boomshots have been linking up from early in his musical journey. During a recent trip to New York City, he sat down with Reshma B to speak about the new project and his unstoppable rise. Check the reasoning:

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Carlos Perez

Anuel AA Breaks Free

In 2015, an entourage of close to 30 men drew guns among one another during a traditional Christmas parranda in Puerto Rico. The scene turned into something straight out of a movie when a pair of gangsters clandestinely attempted to kidnap local rapper Anuel AA. After a brief scuffle and flagrant shouting match, however, the man born Emmanuel Gazmey Santiago went on to finish the evening’s holiday spree in the boisterous company of his loyal posse.

Months later, after ushering in the new year on a promising note by featuring on one of Latin trap’s first global hits – De La Ghetto’s sex anthem “La Ocasion” with Arcangel and Ozuna – someone delivered Anuel AA a divine premonition of sorts: “If you keep talking about this stuff in your songs, something really ugly is going to happen to you.”

A Puerto Rican music legend, Hector “El Father” of reggaeton-turned-son of God, paid Anuel a visit to share his foreboding message. “He and I did not know each other,” explained Anuel, who prides himself on waxing poetics about the real-life experiences Hector was concerned with, “but God spoke to him and Hector felt he needed to reach out to me. When he warned me, he said it with so much conviction that he even cried.”

Having forged a legacy of his own as one of the key trailblazing reggaeton entertainers of the ‘90s who later signed a deal with JAY-Z’s Roc-A-Fella Records, Hector – now a devoted Christian – understood life imitated art when it came to Anuel’s lyrics.

“My lyrics talked a lot about God and the devil, so when he told me that,” Anuel continued, “I knew I needed to make some changes. Those themes, good versus evil, they were my mark and what separated me from the rest.”

On April 3, 2016, just two weeks after meeting with Hector, Anuel was arrested and held in Guaynabo’s correctional institution on charges of illegal gun possession. Following his biggest musical break yet, just as he was touching the cusp of international stardom, a court judge sentenced Anuel to 30 months in federal prison without bail.

Raised east of San Juan, in the Puerto Rican city of Carolina, Anuel AA has a lot in common with many of my favorite MCs: he’s charming, resolute, and lyrically gifted, yet marred by a criminal past, complicit misogyny and the constant struggle between right and wrong. “I had no choice but to carry those weapons with me, because of the issues I had on the street,” the rapper said to VIBE Viva over the phone, while quarantined in Miami. “I thought to myself I’d rather be locked up than found dead.”

Indeed, Anuel had evaded his probable demise when he was nearly abducted and landed right behind bars months later, fulfilling a prophecy that cost him both his freedom and a flourishing start at the tipping point of trap music en Español. “I was being forced to reckon with all the bad things I had done for money in the past,” Anuel expressed, regretfully. “I started reading the Bible for the first time and realized that my talent and blessings came from God, not anywhere else.”

Anuel had begun to take music seriously around the same time his father, José Gazmey, was laid off from his coveted A&R position at Sony Music. With his back against the wall, a scrappy Anuel left home at 15 and began to engage in felonious activity to help provide for his family and finance his music endeavors.

Like many rappers on the island, Anuel was influenced by popular culture and trends on the mainland, most discernibly by contemporary trap. Anuel understood the genre’s synonymy with street life and the drug enterprise and immediately took to Messiah El Artista, a Dominican-American rapper VIBE profiled for championing Spanish-language trap music all over New York.

“I figured if Latin trap was doing well in New York, it was for sure going to pop in Puerto Rico,” said Anuel, who had signed with the Latino division of Rick Ross’ Maybach Music Group the year prior to his arrest. “I spent about a month in New York before I returned to Puerto Rico. Then I started to release all the songs I had, one by one, and they began to gain popularity.”

While artists like J. Balvin helped breathe new life into the reggaeton genre in Colombia, Anuel wanted to spearhead a movement in Puerto Rico with a sound all their own. “I recorded the ‘Esclava’ remix with Bryant Myers and it might not have taken off worldwide, but it became a huge trap song in Puerto Rico.”

Akin to the heydays of reggaeton, an Afro-Caribbean genre-fusing hip-hop and reggae that originated in Puerto Rico, trap music was considered lowbrow and was heavily criticized for its vulgarity, violence, and explicit lyrics. Puerto Rican critics and artists alike had very little faith in the music’s potential and therefore denounced it. “DJ Luian, who is like a brother to me, couldn’t understand why I wanted to put all my energy into music that none of our artists wanted to sing.”

“Reggaeton went dormant for years,” he continued. “It was necessary to make trap music, because it felt like reggaeton was stuck in another era.” A self-described student of the late and oft-controversial Tupac Shakur, Anuel thought reggaeton had reached its pinnacle and believed Latin trap would be its successor.

Songs like “Nunca Sapo,” where Anuel channels Rick Ross’ Teflon Don ethos and spits a grimy slow-tempo flow over a sinister 808-laden instrumental, helped put a face to Anuel’s little-known name in the US. On cuts like Farruko’s “Liberace,” Anuel speeds up his delivery for fun and plays on the “Versace” rhythm popularized by Migos, who all hail from Atlanta—the widely credited birthplace of trap music.

For Anuel, whose life mantra “real hasta la muerte” is now a famous hashtag, music aspirations had little to do with radio play. Anuel, 27, was largely concerned with dominating the digital space, especially while incarcerated. Despite his arrest, he continued to release music from behind prison walls while his team fed his massive following up-to-date content.

Hear This Music CEO, DJ Luian heeded what Anuel was trying to accomplish and began to work with Bad Bunny, the Latin Grammy-winning artist and star voice of the current Latin trap movement. “When I was locked up, Luian helped develop Bad Bunny and he basically became in charge of keeping trap alive while I was away,” said Anuel, who ironically came under fire recently and was accused of throwing shade at Bad Bunny for the video treatment of “Yo Perreo Sola,” in which the rapper-singer dresses in drag as a stance against toxic masculinity.

“I couldn’t believe something like this was going viral,” Anuel interrupted anxiously before I could expound on a question concerning their relationship. “It looked like it was something that was edited or put together to make my Instagram posts read that way. I immediately texted Bad Bunny about it and he was like, ‘Don’t worry, people are always going to be talking sh*t.’”

Anuel considers Bad Bunny a genius at what he does and maintains that despite not knowing each other very well, he and his fellow compatriot are friendly collaborators with a working rapport: “When he and I do a new song together, what will people say then?”

Today, the collective jury will reach a verdict upon listening to Anuel’s newly-released sophomore studio album Emmanuel, where fans will find a track titled “Hasta Que Dios Diga,” a sultry, mid-tempo reggaeton number. Fans can expect to hear a star-studded project riddled with guest features, including Tego Calderón, Daddy Yankee, Enrique Iglesias, J. Balvin, Ozuna, and Karol G, to name a few.

Discussing life during a global pandemic, Anuel spoke fondly of his partner-in-rhyme, Colombian singer-songwriter Karol G. “She’s the love of my life. She’s been there with me through the good and bad. People who really love you are the ones who stand firm by you when things are bleak. In my toughest moments, Karol was there. She’s shown me how to be a better man,” he gushed.

“Karol comes off as super feminine—which she is, but Karol also has a really tough masculine side,” Anuel laughed heartily on the other end of the line. “She rides motorcycles and likes taking them up these crazy hills. She rides jet skis too! She’s like a dude, haha. We work well together and we give each other advice all the time.”

The pair are making the most of quarantine life in South Florida, releasing a self-directed and self-shot music video for their joint single “Follow,” a reference to flirting over social media in the era of social-distancing, the idea that shooting one’s proverbial shot can lead to a budding romance.

On July 17, 2018, Anuel dropped his debut studio album, Real Hasta La Muerte, hours before he was released from jail. By September, the RIAA certified his introduction to the game platinum, garnering the attention of Roc Nation artist Meek Mill. When the Philly wordsmith released his fourth studio LP in November of the same year, followers were geeked to learn Anuel had earned himself a place on Meek’s highly anticipated Championships album with “Uptown Vibes.”

I always wanted you and anuel aa to make a track together bc i feel like he’s the meek mill of spanish trap , how was it working with him ?

— Nagga (@naggareports) December 17, 2018

“Recording with Meek Mill for me was like when Allen Iverson played with Michael Jordan for the first time,” Anuel said, singing praises about their first-ever partnership. “I’m a huge fan of Meek; when his music took off I was still in the streets, so I related and identified with a lot of the things he was saying.”

“Meek doesn’t understand a lick of Spanish,” he mused in jest, “but he’s always with a bunch of Latinos. When I speak to him he says, ‘I don’t know what you’re saying, but my Spanish [speaking] ni**as tell me you be talking that sh*t!’”

Anuel leveraged his knack for storytelling and released “3 de Abril” earlier this year, an emotional freestyle about the day he was arrested and a graphic snapshot of his trials and tribulations.

“I did things without caring about the consequences. I thought I was a man because I was street smart. Now I know what it’s like to lose everything, so I wanted to talk more about my life and the experiences of me and my family,” Anuel described the inspiration behind the song.

Following the release of “3 de Abril,” Anuel again turned hip-hop heads when he and Lil Pump shared a fiery audiovisual for their collaborative effort “Illuminati,” stamping Pump's first new song since summer 2019. This year, Anuel also has songs with Colombian pop empress Shakira (“Me Gusta”) and with the late Juice WRLD (“No Me Ames”).

Albeit Anuel and Juice WRLD never got to meet in person, Anuel learned about the Chicago rapper from listening to his singles on the radio in jail. “The same year I won Billboard Latin’s Artist of The Year award, Juice WRLD won New Artist at the American Billboard Awards. We ended up recording the song after that but held off on releasing it for a bit because he and I had respective singles coming out at the same time,” Anuel explained.

“By the time we were finally ready to premiere it, Juice WRLD had passed away. We were never able to record together in person, but at least we got to feature him on the video. I know the tribute gave his fans and family some needed strength.”

Less than 30 minutes have gone by and already I am forced to wrap my conversation with Boricua’s burgeoning superstar:

Anuel, explain “real hasta la muerte” for me. Why exactly is this mantra of yours so important? 

“I can’t betray anyone. I don’t know what it’s like to really betray someone. I’m very loyal to my circle, my family, and those I hold close to me. Being real is what keeps me humble. It doesn’t matter how much money I make or how much I accomplish. What’s critical is staying real to myself and keeping my feet on the ground. That’s what helps keep me going.”

This interview was translated from Spanish to English and has been edited and condensed for clarity.

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