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Brandon Lucas Talks Staying Hopeful, Working With Dr. Cornel West & Empowering Dance Producers Of Color

Brandon Lucas

Photo: Tony Bee

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Brandon Lucas Talks Staying Hopeful, Working With Dr. Cornel West & Empowering Dance Producers Of Color

GRAMMY.com recently chatted with the Inglewood-born singer/producer, who shared nuggets of wisdom from working with Dr. Cornel West, his vision for his new label, the music that moves him and more

GRAMMYs/Oct 10, 2020 - 03:50 am

One might not expect activist/author/scholar Dr. Cornel West to put out house music bangers, but thanks to singer/producer Brandon Lucas, this is one gift the craziness of 2020 has brought us. For the debut release on Lucas' Purple Label Sound imprint, "Got That Hope" features a much-needed inspirational sermon from West set to a pulsing, energetic house bass line and echoed by Lucas' enchanting vocals.

It's the debut dance track from the Inglewood-born artist, who got his start singing in his local gospel choir and later in an R&B group. He first worked with West around 2008, helping him bring his powerful words online and into the digital space. They will be releasing more music together next year, as part of their shared vision to honor dance music's Black roots. This is also the mission of Purple Label Sound, to uplift fellow up-and-coming house music producers of color and bring in more a diverse audience with it.

"You can't talk about the great funk tradition without talking about house, techno music, all different kind of bodies—straight, queer, trans, all connected through the depths of their humanity and allowing what is inside of their souls to overflow. That is what the rave is all about. That is what the groove is all about," West said in a press release for the song.

Read: How Contemporary Musicians Are Embracing The Spoken Word Album

GRAMMY.com chatted with Lucas right before he delivered a killer debut [virtual] festival set for Rave The Vote, a star-studded voter engagement concert series aimed at mobilizing the dance music community. He shared nuggets of wisdom from West, his vision for the label, the music that moves him and more.

So, you recently released your debut single, "Got That Hope," with none other than Dr. Cornel West. Amazing! What is the message and feeling that you hope listeners get when they hear it?

Music, I think, is a medium that crosses cultures and languages and color lines and political stances, and it brings people together. This song is a message of hope. And during this unprecedented time of literal craziness, it's something to get people moving and grooving and all that beautiful stuff, because you have to find the joy in your struggle to even get through it. So that's what this song is about, but also giving people that stimulus like "Hey, there can be some hope," and getting them to move into that mode.

Whatever you went through during this pandemic, whether it's been good or bad, whether you're affected by the political climate and the racial strife, I think that everyone is exhausted right now. Dr. West always says, "I'm not an optimist, but I'm a prisoner of hope." It's basically saying "Hey, I don't see anything that's going great right now, but I'm going to stay hopeful because that's the only thing that's going to sustain us."

I love that. It's real.

Right? I'm telling you, it's real. And by the way, not to talk too much and not get to your questions, but I created this music at the top of the pandemic, around March. And I was talking to Dr. West yesterday, he reminded me, he was like, "Brother, you remember when you told me you were with your friends in the desert?" And this is when it was hot on the streets, on Fairfax and Beverly where I live, it was going down. And my friends who were semi-public figures, they were like, "Brandon, there's protests." And I couldn't even go home because there was a curfew, but I just felt convicted being in the middle of the desert with my White friends just chilling, while they were not thinking about it.

Fast forward to a couple days after, I wrote him a letter about it, I told him what was going on, everyone was so amazing, this awakening I think has been so powerful for many people across political lines and racial lines. I think that this song of hope brings everyone together in that mindset, because we are so divisive, we need something that pushes us together.

Can you tell me more about Dr. Cornel West's lines in it?

He says, "Still got that hope in you, but you don't talk about the hope, you enact the hope. And it's in your music, that is the blues, a narrative of a catastrophe lyrically expressed but doesn't allow the catastrophe to have the last word."

Okay, so I started working with Dr. West back in 2008, 2007, something like that. And this is when he first came out with his book Hope on a Tightrope. Hope has been a part of his messaging for a long time. Right now, in the news he talks about how he feels that Biden is a neo-liberal disaster, and Trump is a neo-fascist catastrophe. This is Dr. West. He does not hold back how he feels, and he's going to tell it like it is no matter who it is, you know?

But to that point, we can't let catastrophe have the last word. You're going to go through things. Bringing it back to house music, house comes from that black music tradition where these people from cast-out communities would come to warehouses to party all night and to let that funk out, right? These are your Black, brown, and a lot of queer communities coming together, and the roots of the Black tradition is letting that suffering speak through your music. And we've seen that throughout history. With my music and with this label that we're launching, Purple Label Sound, we hope to bring that back in a meaningful way for house music, in a way that makes sense and that's been in the Black tradition for years.

I would say the Black tradition is the American tradition. It's very American. So it's not really a racial thing, it's really about bringing us back to the roots of who we are with this music, and adding that extra culture to it.

I want to talk more about dance music's roots. As you said, it was created by Black, brown, and queer people—and that's not necessarily reflected in the overall space currently. How do you believe that the dance community as a whole can better celebrate, honor and return to its roots?

In the same way I think a lot of industries should. But, to that point, I feel that the dance community is one of the most inclusive communities that I know. I've been doing music and been in the entertainment world for years. I'm from L.A., from Inglewood, so I've been in it. I grew up in the gospel church, and in the R&B world. I was signed to an R&B group back in the day, I did that whole boy band thing.

But when I found house music, around 2010 or so, I found these communities to be so inclusive and so welcoming, the people all the time that you meet in it. It's a beautiful thing. So, to that point, I think that the dance community is in a unique position to do it, but it takes stepping outside of your comfort zone. It takes doing that work to go outside of just who your friends are. A lot of times, your friends don't look like you just because of where you live and who you're about, you know?

And there are a lot of amazing Black Americans or Europeans from the African diaspora who have been killing it for years in the dance industry, like Jamie Jones, Seth Troxler, and the other giants. They get the recognition. Because they've been in it, those of us who are also in it now are a little bit more digestible to people. I think, just like a lot of communities, that unconscious bias runs through, that people don't think about. People who are good people, who are not racist, just go for who makes you feel comfortable, who are your friends. And that's it.

So, with this label, we're going to be a little bit more intentional about—and it's not exclusively Black and brown artists, by the way, but it's what we're focusing on—marketing our artists in a way that I know that these artists of color should be marketed. It can't be cookie cutter. We're going to do it in the traditions of the Bad Boys, the No Limits and the Cash Moneys—the way dance music is marketed today is not the only way.

I honestly feel that most Black people today, when they think of EDM or deep house or house music, they just think "oh, that's techno." A lot of them don't have any clue that it came from us. That's because what gets put on a pedestal, what gets pushed out there to the mainstream, is not what sparks their ears. And by the way, urban music, Black music, the biggest market [today] for that music is White people. So it's not like if we push more of an urban voice in the dance community that it's not for everybody—it's going to be for everybody. It's just making it more accessible to ears who are more used to a more urban thing. That's it.

Read: Aluna On New Album 'Renaissance' & Making Dance Music Inclusive Again

This has me thinking of a really great conversation I had with Aluna recently—I love her and I'm super inspired by what she's doing now as a solo artist.

She's awesome.

She talked about how she, as a Black woman, felt like an outsider in the dance world even though she was part of a duo putting out big dance hits. Once she learned who first created dance music, she realized it's the way things are being marketed and who's being pushed to the top, and she wanted to change it. And she talked about seeing one or two Black girls dancing in the front at their shows, so she was asked "Where are the other Black girls and what can I do to make this feel more inclusive?"

Well, to that point, I know a lot of girls who love techno, and a big handful of them are Black. But it's not a lot of our faces in those scenes, and I've been in the dance community, going to a lot of shows in the underground and music festivals, so I've been around the scene for a long time.

She's right. I've been in worlds where, when you're Black, you're the only face there. But I think it's really a mindset thing. And, from the start, I understood that there was some connection that I felt. When I first heard house and techno songs, like from Kaskade and Above & Beyond, and Avicii, all of those back in early 2010, Eric Prydz—I felt a connection to it. I was like "Whoa, that chord is kind of like a church chord. Oh wait, I know this song, we used to sing that at church." Or "Oh, this is like an R&B track."

At first, I was excited because I loved the music and the musicality. And even with artists like Skrillex, [where some] people were like, "Oh, this noise," I understood what he was doing musically. I understood the chords. It was crazy sounds but I understood it as an artist and as someone who's been in gospel and R&B forever. For a lot of my friends in that space it was new to their ears, but knew when it was a remake of an old classic song that my mom used to play. I knew Black people would love this music if they were exposed to it the right way.

And I think you're right, what gets elevated a lot of times, is non-urban music. When people think dance music, techno music, house music, you don't think urban music. But it's not either/or. There can be urban music that is deep house, that's tech house. But to be honest, I think that a lot of the Black artists that get pushed to the forefront are people who've been doing it forever. The legends, who should be respected, and who we should be pushed forward and lauded. But what about the new cats? Everyone that people talk about, they're in their fifties. We love them, and they're amazing, but who's got next?

And I am talking to Black and brown artists in the space, who are excited about what we're doing [at Purple Label Sound]. The A&Rs, they just don't get it, they just don't get me. They think it's too urban. What's "too urban?" House music is urban, technically, it started off that way. Since then, there's been amazing contributions worldwide, including from the European scene, in Italy, in Sweden. At the root of it, I think if you elevate the right music in the right way, I think it can cross everybody. You know what happened was, and I always say this, I think Beychella made a big impact on house music.

I had a lot of my Black friends who went to Coachella for the first time [in 2018]. They'd been hearing about Coachella, for a while, but when Beyoncé was headlining, it was like, "We're going to Coachella." When they finally went, I had so many friends like, "I'm going back. Oh my gosh, EDM. Wow, this is amazing. Now I get it." Now they feel the music and the culture, and they're starting to understand it, because of Beyoncé.

Related: Beyonce Created A Space To Celebrate Black Culture At Coachella & More Things 'Homecoming' Taught Us

I want to talk a bit more about Purple Label Sound, because "Got That Hope" is also the debut release from it. What's your hope and vision for the label?

Purple Label Sound came about before even my foray as an electronic artist. I created a few songs, I started creating them during the pandemic. I had time for myself with the self-isolation. And really, it was like, "Wow, what am I about? What do I want to do?" And then the racial strife started to happen, and I created a song with Dr. West. But even then, I didn't understand what I wanted to do as an artist. Of course I was going to release some music, but my focus has always been to elevate other people's point of views, and to take other people to the next level.

I've been working with talent on the music end, on the influencer end and on the actor end for years. My day-to-day, what I do best, is to take people's voices and take them to the next level, and then to great careers. That's what I want to do with this label, is to elevate careers and use my resources and my expertise as an artist, and as an entertainment executive, to help these voices be elevated and marketed the right way to support their ventures. And then I realized I should be putting myself out there too. And the music just kind of ballooned into something where, I was like "I guess I should be doing this as well."

It got to the heart of it. I kept having a lot of people come to me and talk about loneliness. I'm one of those strong friends, where friends talk to me a lot. And it was a reoccurring theme of loneliness and "what am I about?" The music that we're initially putting out is what we call deep gospel. We want to inspire people. That's how came about.

My next release, "Is My Living in Vain," is coming up soon and we're dedicating it to a comrade, a brother of mine, a friend who took his life during this pandemic. He came up with us in the industry, he was an A&R executive. I think you guys have a charity in his memorandum actually, the Quinn Coleman Fund.

I really want to make sure that during this time of pandemic, house music still has a place. It's about joy, about dancing, and about partying, but you have to do that to get through the darkness, right? And so, that's why we're talking about hope, we're going to be talking about loneliness, talking about being introspective, and having music that can move us and get through this.

Yes, Purple Label Sound is about elevating these underrepresented voices, but really it was a call to action for myself—and to the world at large—to take everything that I've done in my life and bring that together to create this label to make an impact on the music industry.

What's one of the biggest things you've learned from working with Dr. Cornel West over the years? I'm sure that's hard.

Yeah, there's so many nuggets. At one point I was inundated with his message so much, it's like I have his talking points in me. He stays on message. He's been saying "last year is the same thing as this year, same thing as two years ago." But I think the biggest thing [I learned] is leadership through service, and using your success and everything you have to generously elevate other people around you. That's the only way you become great. Greatness comes from using, as he says, "the magnanimity of your success." I think that's the biggest one, but there's another big one that's helped me throughout my career, my life, my friendships, and just getting through everything. It's, again, leading through love and service. Being a leader, and leading with your heart, with love and with service.

And one more, I really love how he has a good balance of telling it like it is and being a freedom fighter. He's also amazing at having really thoughtful and curious intellectual discussions with people who he may not agree with. To be honest, the only times you ever see him being in a heated debate is when the other person is disrespecting him. He always says something like, "I'm a gangster, but I'm coming by the blood of Jesus." I really respect how he's always been able to balance having engaging conversations with people across the political spectrum that don't agree with him. There's a mutual respect, and you can intellectualize and hold to your convictions and disagree with someone and hold them accountable and still love and respect them.

That's the hard work.

Yeah. Usually when you hold people accountable, you do it out of love. If you don't care, you won't say nothing.

Watch: Positive Vibes Only: Kierra Sheard And Karen Clark-Sheard Deliver Striking Performance Of "Something Has To Break"

That's real. What kind of music did you grow up listening to?

So early on, it was a lot of, obviously, gospel. I grew up with Kirk Franklin and the Clark Sisters. The song I have coming out, "Is My Living in Vain," is a deep house cover of the Clark Sisters, who just had a Lifetime biopic come out about then, amazing. J. Moss, Fred Hammond and all those guys, and Yolanda Adams. But also, of course, Michael Jackson and Prince. My three titans going into high school were Missy [Elliott], Erykah Badu and Lauryn Hill. And I would say also the neo-soul vibe of Erykah, D'Angelo, Musiq Soulchild. Those are the people who I've studied.

Donny Hathaway, Kim Burrell. You know, R&B, soul and gospel. And of course, I'm a West Coast dude, I'm from Inglewood, so, I love, love Snoop Dogg, Dr. Dre, Ice Cube, and DJ Quik and Suga Free. I'm a West Coast hip-hop guy, for sure. I love Biggie, love all of the people on the East Coast, Wu-Tang and all them. All those are great, but I am West Coast, I love it.

Read: Gene Farris Talks "Space Girl," Rave Safety & The Return Of The "Bedroom DJ"

And what was sort of the point when you first got into house music, or first were curious about it and sort of dove into that scene?

Well, I've always been into four to the floor songs. Anytime when Justin Timberlake came out with his stuff with Timbaland, like "SexyBack." When Britney [Spears] came out with "I'm A Slave 4 U," and Madonna came out with her songs. I was always into drive-y songs, the disco songs.

But I really understood what it was when I started to hear it in college, when Afrojack had a song playing at the time. I was in the music industry program at USC, and a lot of my friends were into house music. I was exposed to really good stuff, really quick and dove deep into it. So that's how I got into it, by my friends around me in college. I started going to raves, and I really started really listening to the music. My roommate would just give me playlists, and I dove right into it immediately in like 2010, as soon as I got a whiff of it. My first rave was HARD Haunted Mansion or some shit. [Laughs.]

What's your biggest hope for 2021?

I hope that our nation can heal. And I hope that we can party again, man. [Laughs.] I want to travel! I want to go back to Mykonos. I want to go to Tulum, and Croatia, and Ibiza. Shit, I want to go to Miami and New York! I want to travel the world again, and I hope that we can heal as a nation, and as a world. That's my biggest hope, that we can heal, and that people have done the work that this pandemic, and this unique time in history has given us the opportunity to do.

It's really unique, and I'm so blessed to have—I saw that early on in my team. Me and my best friend, Marquees Ezekiel, we were at his house, working from home. He had just built an at-home gym, because we couldn't work out anywhere and had to work out. And the idea of this label just came about. It was like, "Let's go." It's so amazing how God moves, and how that inkling of idea, three, four months ago became this. But it's not overnight. I've been doing this music thing for years. I've been in the industry for years, and it's beautiful, it's crazy how the universe guides us, places everything in the right mode, to set it up the right way to be here and to talk to you.

Soul Clap Wants You To Rave The Vote This 2020 Election

Find Out Who's Nominated For Best Rap Album | 2020 GRAMMY Awards

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Find Out Who's Nominated For Best Rap Album | 2020 GRAMMY Awards

Dreamville, Meek Mill, 21 Savage, Tyler, The Creator, and YBN Cordae all earn nominations in the category

GRAMMYs/Nov 20, 2019 - 06:28 pm

The 2020 GRAMMYs are just around the corner, and now the nominations are in for the coveted honor of Best Rap Album. While we'll have to wait until the 62nd GRAMMY Awards air on CBS on Jan. 26 to find out who will win, let's take a look at which albums have been nominated for Best Rap Album.

Revenge of the Dreamers III – Dreamville                                                                        

 
This star-studded compilation album from 11-time GRAMMY nominee J. Cole and his Dreamville Records imprint features appearances from some of the leading and fastest-rising artists in hip-hop today, including label artists EARTHGANG, J.I.D, and Ari Lennox, plus rappers T.I, DaBaby, and Young Nudy, among many others. Recorded in Atlanta across a 10-day recording session, Revenge of the Dreamers III is an ambitious project that saw more than 300 artists and producers contribute to the album, resulting in 142 recorded tracks. Of those recordings, 18 songs made the final album, which ultimately featured contributions from 34 artists and 27 producers.

Dreamers III, the third installment in the label’s Revenge of the Dreamers compilation series, debuted at No. 1 on the Billboard 200 chart and achieved gold status this past July. In addition to a Best Rap Album nod, Dreamers III is also nominated for Best Rap Performance next year for album track “Down Bad,” featuring J.I.D, Bas, J. Cole, EARTHGANG, and Young Nudy.

Championships – Meek Mill

In many ways, Championships represents a literal and metaphorical homecoming for Meek Mill. Released in November 2018, Championships is the Philadelphia rapper’s first artist album following a two-year prison sentence he served after violating his parole in 2017. Championships, naturally, sees Meek tackling social justice issues stemming from his prison experience, including criminal justice reform. The album debuted at No. 1 on the Billboard 200, his second chart-topper following 2015’s Dreams Worth More Than Money, and reached platinum status in June 2019. Meek Mill's 2020 Best Rap Album nod marks his first-ever GRAMMY nomination.

i am > i was – 21 Savage

Breakout rapper and four-time GRAMMY nominee 21 Savage dropped i am > i was, his second solo artist album, at the end of 2018. The guest-heavy album, which features contributions from Post Malone, Childish Gambino, J. Cole, and many others, has since charted around the world, topped the Billboard 200 – a first for the artist – in the beginning of 2019, and achieved gold status in the U.S. As well, nine songs out of the album’s 15 original tracks landed on the Hot 100 chart, including multi-platinum lead single “A Lot,” which is also nominated for Best Rap Song next year. 21 Savage’s 2020 Best Rap Album nomination, which follows Record of the Year and Best Rap/Sung Performance nods for his 2017 Post Malone collaboration, "Rockstar,” marks his first solo recognition in the top rap category.

IGOR – Tyler, The Creator

The eccentric Tyler, The Creator kicked off a massive 2019 with his mid-year album, IGOR. Released this past May, IGOR, Tyler’s fifth solo artist album, is his most commercially successful project to date. The album debuted at No. 1 on the Billboard 200, marking his first time topping the coveted chart, while its lead single, "Earfquake,” peaked at No. 13, his highest entry on the Hot 100. Produced in full by Tyler and featuring guest spots from fellow rap and R&B stars Kanye West, Lil Uzi Vert, Solange, and Playboi Carti, among many others, IGOR follows the rapper’s 2017 album, Flower Boy, which received the Best Rap Album nod that same year.

The Lost Boy – YBN Cordae

Emerging rapper YBN Cordae, a member of the breakout YBN rap collective, released his debut album, The Lost Boy, to widespread critical acclaim this past July. The 15-track release is stacked with major collaborations with hip-hop heavyweights, including Anderson .Paak, Pusha T, Meek Mill, and others, plus production work from J. Cole and vocals from Quincy Jones. After peaking at No. 13 on the Billboard 200, The Lost Boy now notches two 2020 GRAMMY nominations: Best Rap Album and Best Rap Song for album track “Bad Idea,” featuring Chance the Rapper.

Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz & More Join Small Business Live Benefit Livestream

Brittany Howard

Photo: C Brandon/Redferns/Getty Images

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Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz & More Join Small Business Live Benefit Livestream

Proceeds from the event will be go toward loans to small businesses founded by people of color, with additional support to women-owned and immigrant-owned businesses, via Accion Opportunity Fund

GRAMMYs/Jun 16, 2020 - 04:13 am

This Saturday, June 20, artists including Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz and more will come together for Small Business Live, a livestream fundraiser event for small businesses facing challenges from the COVID-19 pandemic. 

Proceeds from the livestream will go to Accion Opportunity Fund to support small businesses founded by people of color, with additional support to women-owned and immigrant-owned businesses.

“Entrepreneurs of color are denied credit more often and charged higher rates for money they borrow to fund their businesses. We need to accelerate support to underserved businesses in order to reach our full potential,” Accion Opportunity Fund CEO Luz Urrutia said. “We have to decide what we want our Main Streets to look like when this is over, and we must act decisively to keep small businesses alive and ready to rebuild. This is a fun way to do something really important. Everyone’s support will make a huge difference to small business owners, their families and employees who have been devastated by this pandemic, the recession, and centuries of racism, xenophobia and oppression.”

Tune in for Small Business Live Saturday, June 20 from 4:00 p.m. to 10:00 p.m. EDT on smallbiz.live. The site also provides a full schedule of programs and links to watch the livestream on all major digital platforms. To learn more about Accion Opportunity Fund, visit the organization's website.

Ivan Barias On Silence As Complicity, Holding Major Labels Accountable & How To Be A Non-Black Latinx Ally

Disclosure, Sofi Tukker Top Elements Fest Memorial Day Weekend Lineup

SOFI TUKKER perform in 2018

Photo: Jamie McCarthy/Getty Images for Bombay Sapphire

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Disclosure, Sofi Tukker Top Elements Fest Memorial Day Weekend Lineup

The music & art festival will take over 200 acres of camping and seven stages in Lakewood, Penn. May 24-27

GRAMMYs/Jan 26, 2019 - 03:41 am

The Elements Music & Art Festival will be held May 24–27, Memorial Day weekend, in Lakewood, Penn. Back for its third year, the Elements Fest announced more than 100 acts for their 2019 edition including Disclosure headlining their Fire Stage and Big Gigantic and Sofi Tukker co-headlining the Earth Stage.

Other artists on the Elements bill include Damian Lazarus and Seth Troxler co-headlining the Air Stage, and Of The Trees, Stylust, Supersillyus, and Mike Wallis on the Theatre Stage. There is also a Water Stage, an Alchemy Stage and the Pool. 

Games, workshops and wellness activities include basketball, volleyball, a roller skate disco, rock climbing, a zip line, and sunset kayaking. A Unicorn Lounge offers glitter-friendly self-care with pampering shaves, manicures, face painting, and more.

Sofi Tukker's "Drinkee" was nominated for Best Dance Recording at the 59th GRAMMY Awards and their 2018 album Treehouse is nominated for Best Dance/Electronic Album at the 61st GRAMMY Awards

Disclosure's latest album is still 2015's GRAMMY-nominated Caracal ,but they released new material in 2018 including "Ultimatum" in May, nominated for Best Dance Recording at the 61st GRAMMY Awards, and August's a-track-a-day releases. Fisher, also on the Fire Stage, is nominated for Best Dance Recording at the 61st for his 2018 breakout single "Losing It."

Tickets are on sale at the Elements Fest website with various camping and cabin options available.

Sofi Tukker: GRAMMY Red Carpet Interview

Rolling Loud Festival Los Angeles Reveals 2019 Lineup

Doja Cat

Photo: Scott Dudelson/Getty Images

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Rolling Loud Festival Los Angeles Reveals 2019 Lineup

Find out who's bringing the heat to the hip-hop fest returning to L.A. this December

GRAMMYs/Oct 2, 2019 - 12:11 am

Today, Rolling Loud revealed the massive lineup for their final music festival of 2019, Rolling Loud Los Angeles, which is set to take over the Banc of California Stadium and adjacent Exposition Park on Dec. 14–15.

This iteration of "the Woodstock of Hip-Hop," as the all-knowing Diddy has called it, will feature Chance the RapperLil Uzi VertJuice WRLDYoung Thug and Lil Baby as Saturday's heavy-hitting headliners. Sunday's headliners are none other than Future, A$AP Rocky, Meek Mill, YG and Playboi Carti.

L.A.'s own Blueface, Tyga and Doja Cat, are slated to perform, as well as representatives from the diverse rap scenes across the country, including Wale, Juicy J, Lil Yachty, Megan Thee Stallion, Gunna, Tyla Yaweh, Machine Gun Kelly and Yung Gravy.

The lineup announcement follows the successful wrap of Rolling Loud Bay Area in Oakland this past weekend. The event's flagship Miami event took place in May this year, and the New York and Hong Kong debut editions will both take place later this month.

Tickets for Rolling Loud L.A. go on sale this Friday, Oct. 4 at 11 a.m. PST. The complete lineup and more info on this event and their other fests can be found here.

Where Do You Keep Your GRAMMY: Fantastic Negrito