Young artists like Latto, Doechii, and Vince Staples—who recently performed at Coachella—are subtly persuading listeners to rethink the way music genres can be interpreted.
by Nas, whose early catalog rivals Staples’ own youthful ingenuity, the conceit of “Sparks” is all camouflage, Staples is not, in fact, recalling a relationship with a former partner but with his firearm. He is not working for our empathy, and yet the poetry of the song is all about work: how, in the act of remembrance, love works. These are the streets that raised him, the circumstances he’s faced with learned pragmatism.
What the construction of “Sparks” does is test our understanding of the elements that make an R&B song. It’s not transcendence or reinvention the rapper strives for, but translation on a lower, understated frequency. Staples isn’t the only musician working in the subtle art of interpretation. The Atlanta rapper Latto is the kind of artist who favors momentum. Her songs cartwheel, skirt, tilt, gyrate, and quake with a sparkling thermal energy that has helped her earn chart-worthy hits. The centerpiece of her sophomore album,, released late last month, was the Mariah Carey-sampled “Big Energy,” but the real surprise—the song that afforded Latto the most latitude—was the gospel ditty “Sunshine.
Latto previously referred to the track, which features Lil Wayne and Childish Gambino, as “hood gospel,” and the architecture of it proves as much, drenched as it is in planking keys and cloud-parting choir harmonies. It’s an altogether playful interpretation of a genre that isn’t always hospitable to the sort of freewheeling bold explication Latto, Wayne, and Gambino are known for.
Balking at any notions of subtlety in her pop translations of late is Doechii, a rapper of polyglot vision from Tampa, Florida, and signed to TDE, the once dark-horse label that made household names out of Kendrick Lamar, Schoolboy Q, and SZA.
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