Digiwaxx Culture Archives - Page 2 of 16

#rewindreview Flow Factory ‘SP to LP’ EP 2020

Posted on February 10, 2026February 10, 2026 by Quantum Leap Radio

One thing the Pandemic did was create a sense of urgency or appreciation for music creation, depending on one’s point of view. In #HUEston there was a select few at one point that might not have fit into the “box” the city was known for. I personally only knew of about three acts by the early 2000’s but while being on “the scene” in those days, I became aware of some acts I may have missed. Flow Factory which consist of three M.C.’s Mavrek, Big Ruk and Mynus had been navigating the rap battle circuits in Houston for some years. When combined as a group one could see them out performing at certain spots and hear them as a group or separately, featured on songs throughout the years. The void they lacked was having a release everyone could get to that showcased the trio’s talent. ‘SP to LP’ is that long awaited moment for Flow Factory to enter the proper release space that many of their peers like Example and K-Otix had done years prior. Maybe the reason it took so long was as simply three M.C.’s, there needed to be a guiding force to highlight their talents with a proper audio palette. Enter The Roux who consist of Kay, King Mason and Jermaine Williams. All had plenty of hours making incredible music in their own time, with the likes of Robert Glasper, Chris “Daddy” Dave and more, but now had come together as a collective to help extract the best out of some HUEston talents. Flow Factory was able to be in the list of those talents and this EP benefitted greatly with that. The Roux made sure to keep a ruggedness that Flow Factory radiate but also a lush sound to give this EP some meat. ‘SP to LP’ is meant to give a summary of how the three member group has stood firm all these years being from South Park and La Porte (Houston). The intro provided by Andre King work as a foreword for what the audience can expect for the next twenty-five minutes. ‘Hi Haters’ and ‘Don’t Stop’ is a “roll call” for the return of Flow Factory. Then on ‘A.M. To Da P.M.’ the trio decide to show that their content be about more than battle raps but provide a little slick talk for the ladies. ‘The Technique’ is my favorite track on this album as the production from The Roux and all members of Flow Factory are completely in sync on that track. My one complaint with the release is Mavrek’s vocals sounded a bit off with the exception of ‘A.M. To Da P.M.’ but his lyrics were not to be denied. ‘SP to LP’ has relatable ability to those of us who appreciate M.C.ing and comradery. Ask yourself how many times you’ve sat around talking about rap or reminiscing on childhood memories of forgotten toys. What did you think of the album? Singles include: ‘Hi-Haters’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

STILL SHINING TWENTY YEARS LATER: A TRIBUTE TO J-DILLA

Posted on February 9, 2026February 13, 2026 by Quantum Leap Radio

“The artist’s role is to raise the consciousness of the people. To make them understand life, the world and themselves more completely.” —Amiri Baraka Did Jay Dee a.k.a James Yancy complete this goal? I mean in 2026 one might say that he absolutely did but could that same point of view apply twenty years ago? To an audience that waited for B.E.T.’s ‘106 & Park,’ the nightlife they frequented, or local terrestrial radio to guide their ears, absolutely not. For this is why Jay Dee a.k.a. James Yancy was truly a “genius.” It took reading credits on albums from The Pharcyde, Keith Murray, A Tribe Called Quest, Busta Rhymes and more to continue to see this “Jay Dee” name and think there was maybe a spelling correction. At the time the only “J D” known was Jermaine Dupri, but clearly the ‘So So Def’ figure head was not making these types of beats, but had access to those same acts who were big in the industry. If Not Jermaine Dupri, who is this Jay Dee…? By the end of the 1990’s an “underground jewel,” which has gone on to be a cult classic was released in 2000. This was ‘Fantastic Vol.2 by Slum Village out of Detroit Michigan, and what a way for the audience to now understand who this “Jay Dee” was. Slum Village was beyond the method and audience this group was intended for. Had one major label took a chance with them for this particular album, I can only imagine the course T3, Baatin and Jay Dee would have been on. Here lies the paradox because Jay Dee never seemed to want the spotlight or cared for the accolades. His mission, for those of us who were paying attention at this time seemed to simply provide new ways of making music. Raising that “consciousness” which would influence so many over the years, unintentionally and intentionally, known and unknown. His mark on music was getting too massive to not recognize. This recognition didn’t come from millions of listeners but from those names in the industry like Pharrell Williams, Questlove and Kanye West, who understood that a juggernaut was operating behind the scenes. Well flash forward to third quarter of 2005 when a modest radio show in Houston T.X. called ‘Late Nite Snax,’ reported on a clip of a live show appearance from Jay Dee a.k.a. J-Dilla where he performed on stage in a wheel chair. This was odd by all means because Jay Dee was rarely ever seen so to find out he was dealing with some sort of ailment, but still wanting to perform was heartbreaking but also inspiring. Of course during those years the Hip-Hop audience was not losing figures left and right as we are today, so the thought was that he would power through whatever sickness this was. By December of 2005 “J-Dilla” had credits on a few albums and talk started about a new album from the Detroit native coming in the following year. As a host on ‘Late Nite Snax’ I remember even having talks about “J-Dilla” appearing on the show through a phone interview as we usually received guest. This never happened but we figured in 2006 we would finally have our “Captain Ahab” moment and catch the ‘Moby Dick’ of ‘Late Nite Snax.’ See this radio show had favorites and was never scared to make sure that whoever choose to tune in would hear those favorites while they could live and breath. After leaving work on February tenth of 2006, I received a text from one of Houston’s best M.C.’s, Snap (a.k.a Dirty Red), to which it read “did you hear about Dilla.” Automatically my mind went to his performance in a wheelchair from the year prior and thought the worst, but again in 2006 that feeling is foreign as Hip-Hop acts didn’t die. Upon further text messages and calling others, my worst fear was confirmed. It was surreal because Jay Dee wasn’t running around in the streets and killed by his enviroment. He wasn’t abusing illegal substances (at least to my knowledge). He was simply a young hip-hop act whose trajectory was heading upwards in the most genuine and natural way. Plus he had just dropped the incredible and defining album ‘Donuts’ on his birthday so this had to simply be rumor right, how can he be… gone? ‘Late Nite Snax’ never caught our ‘Moby Dick’ but best believe we did everything we could to speak as loud as we could for Jay Dee a.k.a. J-Dilla at the time. We were able to reach out to friend of the show Drake Phifer from Detroit, who put us in contact with D.J. House Shoes and Roc C., as we got their perspective on the man the myth and the legend. We also took this night out as a collective to just provide two hours of pure “Dilla.” A masterclass and only a slight percentage of his music up to that point. No posthumous remixes or unofficial blends, just a hefty catalog of the foundation laid by James Yancy, to justify why he has had such a legacy twenty years later. Rest in the most HEAVY BEATS James Yancy a.k.a. Jay Dee a.k.a. J-Dilla (Feb. 7, 1974 – Feb. 10, 2006) Take a QUANTUM LEAP back to the LATE NITE SNAX ‘J-Dilla Tribute Show’ February 23, 2006 Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Outkast ‘Southernplayalisticadillacmuzik’ 1994

Posted on February 3, 2026 by Quantum Leap Radio

This is the beginning of an era, a movement and a legacy. Outkast seemed to appear among a multitude of southern acts during the mid 1990’s. At this time the sound and interest of HOP music was reaching beyond the East and West Coast. With their first single ‘Player’s Ball,’ I personally remember just hearing it as “background noise” and not paying much attention to it. By the time the second single, which is the title track for the album dropped, the understanding was this group might be a bit more ahead of the race than their current peers. Although that was a merit for them, Outkast still was not the groundbreaking group we know them to be today. It personally took their second album ‘ATLiens’ and a couple of songs replayed from this album on college radio for me to eventually sit down with the record a few years after its release. ‘Crumblin’ Erb’ was the main catalyst for me to listen to ‘Southernplayalisticadillacmuzik.’ Growing up in the south and in particular the area I grew up in, that “audience” I never associated with the vibes ‘Crumblin’ Erb’ present. Needless to say it made me appreciate those first two singles more and as a whole this album was planting a flag for the group and the city of Atlanta. Between ‘Myintrotoletuknow’ and ‘Ain’t No Thang,’ it was clear that Outkast was providing a sound bigger than what I had ever expected from this first album. Organized Noize and Outkast were a symbiotic relationship on this record favorable to your arm and hand. Providing Outkast with music that fit their personalities and experiences, while also being a bridge to sounds the audience were married to from the East and West Coast, made this album a perfect fit for the diversity and fresh sounds HOP music birthed during 1994. Outkast do a great job of not preaching to listeners but relaying point of views that can be true learning lessons like on ‘Call Of Da Wild’ and Git Up, Git Out,’ which ironically are the introductions to the public of Goodie Mob. There is another side to the South that they display which is “Southern soul music” which they do unapologetically on ‘Funky Ride.’ In 1994 this seemed like a huge risk in the eyes of record executives, as having R&B songs on a Hip-Hop album was not yet common. It worked as well as moments like ‘Hootie Hoo’ which begins like it will be one of the more weaker tracks, until about a minute and a half in and Organized Noize start to build on the track with live instruments that gives the song a whole new life by the end of it. ‘Southernplayalisticadillacmuzik’ is this hidden seed that a person like myself could not actualize at the time. Outkast was building their presence and setting a blueprint for how they would create and evolve later. The intro to ‘D.E.E.P.’ literally is the “alley op” to what would become their “benchmark release” ‘ATLiens.’ What did you think of the album? Singles include: ‘Player’s Ball,’ ‘Southernplayalisticadillacmuzik’ & ‘Git Up, Git Out’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) or get the KPFT APP in your playstore!!! Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: Apollo Brown ‘Sincerely, Detroit’ 2019

Posted on July 16, 2025July 16, 2025 by

I have said on record (you can see old Late Nite Snax radio shows) that “there was something in the water” in Detroit. For many Eminem is the reference point for the city. Others might be older and M.C. Breed is that origin point. For me it was Slum Village and anyone that was affiliated with them. That unit clearly had a certain sound and type of rhyming that might be in total contrast to an Eminem. What was undeniable was there was a diverse Hip-Hop scene in Detroit that any listener could choose from. Enter Apollo Brown, who’s name I started to see around 2010. Initially I had no idea where he was from but the music was enough to keep me interested. In 2014 he did a collaboration album with Ras Kass called ‘Blasphemy’ which I personally think is one of Ras Kass’ best albums. Now there is no denying Apollo Brown which come to find out is from that city with that “…something in the water.” In 2019 the beat maker put out ‘Sincerely, Detroit’ which is truly a thank you letter to the cities most effective and talented M.C.’s and gives somewhat of a “crash course” to those not in the know of these acts. This is a compilation record with Apollo Brown exclusively on the beats while he also had the daunting task of gathering Detroit’s best for an almost hour and a half album. The audience will recognize names like Royce Da 5’9, Slum Village, Elzhi, Melanie Rutherford and Kinuva; but Apollo digs deeper and highlights those acts that have been effective not just on the Detroit underground scene but across the world like Boog Brown, Boldy James, Guilty Simpson, Black Milk, Leaf Erikson and Ty Farris just to name a few. This is a hefty album that I have to warn is strictly Hip-Hop with no room for trying to fit in or cookie cutter material. If there is an issue listeners might have, is the amount of time one would have to sit with the record. It can be argued that it is too long but at the same time this “love letter” of Detroit HOP music might not mean the same if all these acts could not be represented on one project. What did you think of the album? Singles include: ‘The Backbone,’ ‘Deception & Woes, ‘365’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#rewindreview: ‘Silent Weapons For Quiet Wars’ 1997

Posted on July 8, 2025 by

The mark that Wu-Tang Clan left on the music industry will probably never be duplicated, in terms of ideas and themes that seemed so opposite of what Hip-Hop was. With that influence there were acts that clearly were trying to duplicate what the crew brought to listener’s ears. It was only fitting that by the time of their second album in 1997, Wu-Tang introduced their immediate family who they felt deserved to be “cuban linx” by proximity. Killarmy was a six M.C. crew with an in house producer. Killa Sin, Beretta 9, Islord, 9th Prince, P.R. Terrorist and ShoGun Assasson provided raps while 4th Disciple made his way on to the Wu-Tang chess board with his production on this album. ‘Silent Weapons for Quiet Wars’ fits the theme of Killarmy’s name and they lean heavy on it throughout this record. The book ‘Behold A Pale Horse’ was somewhat of a bible for many rappers that came up during the 1990’s to which the album name is a quote from the publishing. A lot of “theory” on how the world was operating and who was “in control,” played a huge factor in the content listeners received. Killarmy is a mashup of “strength in numbers” instituted in the Wu-Tang Clan lure, and soldiers ready for the “quiet war” that was being fought for people’s minds. The question is why this album and group never made the splash of their predecessors and it can be because they felt too “familiar.” With the six M.C.’s it was often hard to distinguish who was who but one could also pinpoint their rapping style to someone in the original nine members of Wu-Tang Clan. Also with 17 tracks the album can meander as the group tries to fit in so many bars over production that is trying to separate these songs while keeping the “DNA” of the Wu-Tang sound. For the absolute “Wu-fan” that only wanted to hear the type of music they brought, ‘Silent Weapons For Quiet Wars’ satisfies that urge. The album is not bad for what it is but at the same time it doesn’t create new fans not already down with the Wu-movement. What did you think of the album? Singles include: ‘Camouflage Ninjas,’ ‘Wu-Renegades,’ ‘Swinging Swords,’ ‘Fair, Love & War’ & ‘Wake Up’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

Jermaine Dupri Drops Club-Ready Single “Turn Around” with T.I., 2 Chainz & Young Dro

Posted on July 5, 2025 by

Jermaine Dupri shared with Digiwaxx that before creating this record, he would reach out to DJs and tastemakers to see what the club was missing – and then he’d go right in the studio and deliver exactly that. That’s why he’s always been ahead of the curve. Now, the GRAMMY®-winning producer, Songwriters Hall of Famer, and true cultural icon is back with another banger. His new single “Turn Around,” featuring Atlanta rap royalty T.I., 2 Chainz, and Young Dro, is out today via on all platforms including the Digiwaxx record pool! Serving as the lead single from his highly anticipated full-length album inspired by the upcoming STARZ docuseries Magic City: An American Fantasy (executive produced by JD and premiering August 15, 2025), “Turn Around” is a full celebration of Atlanta’s influence on music and strip club culture. The bass-heavy, club-ready anthem is unapologetically Southern, encouraging women to smile, let loose, and “turn that thing around.” The high-energy video, debuting June 13, captures ATL’s strip club scene in all its rawness, featuring cameos from Bow Wow, 21 Lil Harold, and other local legends. When we interviewed Jermaine Dupri about his new Magic City project and his latest single “Turn Around,” he shared powerful insight into his creative process. Speaking on the writing and production of the track, he told me, “I believe good music is good music.” He went on to explain how he approaches his work with intention, saying, “I see a void, and when I see a void, I try and fill it at all times.” It’s that mindset that has kept him at the forefront of music for decades, always listening to the culture and giving the people exactly what they didn’t even know they were missing. The full project, dropping August 15 alongside the docuseries, brings together an all-star lineup of Atlanta artists, marking the first time a producer from the city has curated an entire album exclusively featuring Atlanta talent across generations and genres. It’s a historic moment, with JD and So So Def once again pushing the culture forward. Fans can expect an immersive listening experience that captures the essence of Atlanta’s iconic strip clubs while honoring the roots, legends, and lasting impact of Magic City on hip-hop and pop culture. As someone who’s witnessed JD’s passion up close, it’s clear he’s always stayed tapped in with his city – showing up for his own with an unshakable sense of hometown pride. With the summer heating up, “Turn Around” is just the start. Get ready for an Atlanta takeover led by one of its founding architects. It’s an Atlanta Summer.

#rewindreview: Camp Lo ‘Short Eyes’ EP 2001

Posted on July 1, 2025 by

With a solid debut album under their belt and a certified hit, Camp Lo needed to make sure they were able to survive the “new millennium.” In comes a very rare “taste test” of a release in an EP called ‘Short Eyes.’ If one listened to the last remaining college radio shows around this time or knew D.J.’s who were in support of HOP music, a track or two from this release might have been heard like ‘Sunkiss’ or ‘Baby Mother.’ Otherwise you might have needed to be in Japan or perusing online outlets like ‘sandboxautomatic’ to own this EP. Much like the records title the listener is granted a short collection of new music from Camp Lo. The group continues their signature raps that often can seem to need a translator but still keep it as “fly” and stylish as they can be while paying homage to 1970’s black films. Although the film this references is much darker in contrast to the vibes one hears on the release. Camp Lo manages to keep the party groove throughout the twenty minutes of this EP and they seemed to assimilate easy into the “cha cha” sound that came with popular music from about 1999 to 2002. The record is consistent and gives insight into where the group was heading musically but it does not break any ground or has those obvious moments of greatness their debut album has. For the Camp Lo fan they would be satisfied, and even the fly by night listener of HOP music, if they could understand their lyrics. What did you think of the album Singles include: ‘Army’ & ‘Baby Mother’ Listen to QUANTUM LEAP RADIO every Saturday from 4-6p.m. CST & Thursday from 1-3a.m. CST on 90.1 FM KPFT Houston in HD2 Worldwide @kpft.org/listen (under “kpft in HD2”) Catch past episodes by searching and following @https://linktr.ee/QLEAPRADIO

#reemoapproved Review: Deep Dive on “Soak” – Ferrari Francheyez ft. Alicia Nicole

Posted on June 29, 2025 by

Ferrari Francheyez stays cooking—this time he brings a nocturnal gem called “Soak”, featuring Alicia Nicole on the vocals. This joint isn’t just another track—it’s an immersive experience that drips in late-night mood. Production & Sonic Texture Right from the jump, “Soak” opens with atmospheric pads that feel drenched in echo, then jumps into a groove that walks the line between chillwave and neo-R&B. Percussion is sparse but sharp—kick tight, snare crisp, layered over a low-end that gives you space to nod your head or close your eyes and lean in. The transitions? Seamless. The drops? Subtle but powerful. It ain’t your loud club banger—it’s that midnight zone vibe, where the speakers hum in the background while your mind wanders. Alicia Nicole Brings the Juice Alicia Nicole’s voice—smoky, effortless, dripping with bite and honey at the same time. In the verses, she whispers confidence; in the chorus, she swells and soars. And that bridge? Emotional fireworks. Those layered harmonies got me hitting replay—the kind of vocal texture that colors the whole atmosphere. Lyrics & Themes On the surface, “Soak” is a sensual rocker—about letting someone else pull you in, letting feelings soak in like rain. But the writing’s got layers: an invitation to immerse yourself not just in the moment, but in emotion, memory, and atmosphere. Lyrics weave between desire and introspection—”let me soak in your world,” “let me feel every drop of truth”—you feel the water metaphors dripping. Genre-Blending & Vibe Crossover This ain’t locked into one lane. It rides the fine line between neo-soul, alternative R&B, and indie pop, with just enough swagger to slide into hip hop playlists. This is that track you vibe with through headphones at 2 AM or push through your subwoofers while cruising city streets. 🔄 Bringing in the Reemo Flavor If you peeped Reemo’s recent podcast—check him here—you know he’s about introspection, vibe, and lyrical wave. “Soak” definitely aligns. Production choice? Check. Emotional depth? Check. That modern-meets-soul edge that keeps it fresh? 100 %. Track Reference Here’s the straight-up link to stream “Soak”—plug in, lean back, and soak it all in: https://open.spotify.com/track/2tQSUUnNuxFN57iYLbOXoF?si=70ecfadc27e24ea1 Final Verdict – #ReemoApproved Let me say it plain—“Soak” is #ReemoApproved. It holds that essential balance: slick production, profound lyricism, and a hook that grabs you but still keeps that introspective soul intact. Alicia Nicole’s voice seals the deal, while Ferrari Francheyez’s sonic architecture gives you space to absorb it all. Put this on heavy rotation, drop it in your nighttime and late‑drive playlists—it’s built for vibe consumption and mood immersion. 🔗 All the Links for Your Playlist Stream Alicia Nicole: https://open.spotify.com/artist/7ySJVHZduPd5H2B0JFVug9?si=Kv2Bmm–ShyL-KmNnlYUSw Hit the track: https://open.spotify.com/track/2tQSUUnNuxFN57iYLbOXoF?si=70ecfadc27e24ea1 Cash-in with Francheyez: https://open.spotify.com/artist/25BMF4NeHRTkcut0BkvMvn?si=d1jfHsYbR3yXW8fDnggZ5g Stream Reemo for full vibe and PODCAST synergy: https://open.spotify.com/show/4ufZwa4vy53itfA3N2LVe1?si=1022dddeab794a35 Drop me your thoughts—what part hit hardest? The flicker in the chorus, the way Alicia lands that hook, or those atmospheric breakdowns? Let’s chop it up. As per usual, #MYCreatives ….onto the next!!!! Follow Me on Social Media: IG: https://www.instagram.com/reemomeerak_ X(Twitter): https://twitter.com/reemomeerak_ Tik Tok: https://www.tiktok.com/@reemomeerak_ LinkedIN: https://www.linkedin.com/in/kareemreemomeeraktyson Subscribe to The Podcast; Reemo Meerak: The C.U.T.S. https://www.youtube.com/@TheCUTS_ For Interviews, Cover your event, write a review, or Features: [email protected] OR [email protected]

The 2025 Rock the Bells Concert at Prudential Center: A Living Tribute to Hip-Hop’s Legacy

Posted on June 29, 2025June 30, 2025 by

The 2025 Rock the Bells concert at the Prudential Center in Newark, New Jersey was more than a show—it was a celebration of the art and legacy of Hip-Hop music across generations. LL Cool J’s company delivered an unforgettable experience, staying true to the culture it was built to honor. The Concert The evening was hosted by the battle-tested Roxanne Shanté, whose presence reminded the crowd of Hip-Hop’s roots in resilience and realness. One of the early standout acts was Coast Contra—a lyrical powerhouse whose synergy and message-heavy bars evoked comparisons to legends like Wu-Tang Clan and A Tribe Called Quest. Their set was both sharp and soulful, setting a high bar for the night. Other artists like Lil Mo, Fabolous, M.O.P., Remy Ma, and State Property lit up the stage with career-defining anthems. Each performance was a nod to their impact on the culture and a testament to their staying power. Then came the heavyweights—Big Daddy Kane, KRS-One, LL Cool J, and Rakim—who transformed the arena into sacred ground. These God MCs turned their performances into a masterclass, elevating the night to near-celestial heights. Scarface and Too Short represented for Houston and Oakland respectively as icons from other regions other than New York. A Tribute to Uptown Records A major highlight of the night was the heartfelt tribute to Uptown Records, the legendary Hip-Hop and R&B label founded by the late Andre Harrell. The tribute featured soul-stirring performances from Al B. Sure!, Christopher Williams, and Father MC, among others, paying homage to a label that helped bridge Hip-Hop and R&B into mainstream greatness. The Grand Finale Capping off the night were Capone-N-Noreaga, followed by Newark’s own Redman, who surprised the crowd by bringing out Treach of Naughty By Nature. Finally, Busta Rhymes closed the show with his signature explosive energy—cementing the night as one for the ages. One thing’s for sure, and two things are certain: Hip-Hop and R&B’s legacy continues to thrive and evolve—documented and preserved through LL Cool J’s vision and the Rock the Bells platform.

Digiwaxx’s “Next Up” Showcase Elevates Rising Hip-Hop and R&B Talent at The Penthouse

Posted on June 27, 2025June 27, 2025 by

Digiwaxx brought the pulse of the underground to the skyline with its Next Up Experience on Wednesday night, June 25. Held at The Penthouse in Hell’s Kitchen, this rooftop showcase blended New York City’s energy with the raw ambition of emerging hip-hop and R&B artists. The result? A night of electrifying performances, community connection, and forward-thinking exposure. As part of the celebrated New Music Wednesdays series, the event offered more than a stage—it offered a platform, an audience, and for the first time, a digital identity. Each performing artist was gifted a .hiphop domain, symbolizing a new step in branding and ownership within the culture. Performances That Brought the Roof Down Hosted high above Midtown Manhattan, the showcase featured a carefully curated lineup representing both borough-based grit and national soul. Ron Browz & Ether Gang Collective Harlem icon Ron Browz introduced his Ether Gang roster—All Mighty Mak, Izzo, and Bragging Rights—who delivered high-octane verses steeped in East Coast swagger. Their chemistry and bravado captured the essence of New York’s battle-tested lyrical tradition. Ty Poe From Queens, Ty Poe gave a commanding performance, blending charisma, style, and lyrical sharpness into a set that had the crowd leaning in and nodding along. Sada James Cincinnati’s own Sada James dazzled the room with her angelic voice and emotional control. Her performance was a masterclass in vocal power and grace, earning her new fans by the minute. Nyasia Chane’l Soulful and sophisticated, Nyasia Chane’L performed her latest single, “Numb,” enveloping the crowd in raw emotion and silky melodies that echoed long after she left the mic. Kofi Black The smooth R&B crooner gave a standout performance while promoting his latest track, using the moment to both entertain and engage—proving himself an artist who knows how to move a room and market a record. Lish2x & T-Sexie Bringing fierce femininity and unshakable bars, emcees Lish2x and T-Sexie injected the stage with grit and confidence. Both left a mark as voices to watch in the city’s shifting lyrical landscape. Jay Swishes With sharp delivery and cool composure, Jay Swishes represented the new wave of NYC rap—bridging contemporary swagger with classic structure. DJ Epidemik Sets the Tone Guiding the night’s rhythm was DJ Epidemik, who masterfully kept the crowd moving between sets. He set the sonic foundation for a night that balanced celebration with discovery. Artists Go Digital with .HipHop Domains In a cutting-edge twist, every artist who hit the stage received their own .hiphop domain—a move that emphasizes branding, ownership, and long-term visibility in the digital era. It’s a modern nod to artist empowerment, making it clear that Digiwaxx is not only about the moment, but about longevity. The Culture on the Rooftop More than a showcase, the Next Up Experience was a creative ecosystem. Artists performed to an audience of DJs, bloggers, producers, and tastemakers, while panoramic skyline views added to the aura. It was networking, community-building, and celebration rolled into one unforgettable night. Final Word With breakout performances from Ether Gang, Ty Poe, Sada James, Nyasia Chane’L, Lish2x, Jay Swishes, and more, Digiwaxx once again proved its role as a frontline incubator for future stars. Powered by DJ Epidemik’s selections and the visionary push for digital branding via .hiphop domains, this was more than just a night of music—it was a moment of elevation. Keep your eyes on these names. They’re not just next up—they’re now.

Category: Digiwaxx Culture