yachty on the radar

Lil Yachty Drops By For His "On The Radar Freestyle"

Lil Yachty's takeover continues.

Lil Yachty 's run in 2023 has been one of the most fun and incredible moments in hip-hop. It is really hard to picture anyone else who is over him right now. The consistency, but also the quality of the output the Georgia artist has been giving us cannot be ignored. One of the most shining examples was his recent surprise track with J. Cole . "The Secret Recipe" sees Yachty rapping like his life depends on it with Cole coming in the second to deliver another great verse.

What also has to be said about Yachty has been his willingness to try new beats and instrumentals. The aforementioned track featured an Alchemist -like production. His genre-straddling record Let's Start Here. featured many different genres. Again, on top of that, his performances have been animated, and colorful. Also, when he is rapping, he is going all out. That is the case here with his "On The Radar Freestyle."

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Listen To Lil Yachty's "On The Radar Freestyle"

Recently, Drake and Central Cee hopped on the show to bring an electric and viral performance. Yachty is looking to do the same with his version. His is only about two minutes and 50 seconds long. However, he brings nice flows and funny bars across the runtime. Currently, it is only available on YouTube and SoundCloud.

What are your initial thoughts on this brand new "On The Radar Freestyle" from Lil Yachty? Is this the best performance you have heard for On The Radar ? Has Lil Yachty dominated 2023 or is it another artist? We want to hear what you have to say about all of this. With that in mind, be sure to leave all of your thoughts and opinions in the comments section below. Additionally, always keep it locked in with HNHH for all of the latest breaking news around Lil Yachty, as well as all of the hottest music releases.

Quotable Lyrics:

It's the bank breaker (Yeah) It's the Rolls skrrter, b**** tipper, drank sipper Yeah, it's the Balenci' bandit, f*** n****s can't stand it Caught a bad h* in transit Quick blue and red like I studied at Kanas Hit every bad h* on state campus (Yeah)

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After Drake and Lil Yachty, Rap Show ‘On The Radar’ Plans to Keep the Hits Coming

By Mankaprr Conteh

Mankaprr Conteh

This summer, hip-hop channel On The Radar was on everyone’s radar as it rose to become one of the internet’s finest purveyors of freestyle videos and interviews, reaching a new high with a Drake appearance featuring buzzing U.K. rap star Central Cee . Both traded bars at the show’s New York studio, shrouded in its signature green-means-go lights. Beyond producing the best music meme of the season (Drake slurring “combination” in one of his infamous accents during the song’s intro) it also produced one of the hottest rap songs of the summer. The internet moves quickly, though — in another life, the song would still be ringing off everywhere, but even On The Radar has kept it moving. Lil Yachty teased his own freestyle days ago and it arrived on October 6, meaning OTR snagged yet another hitmaker having a career-redefining moment, with Yachty still shapeshifting after a decade as one of rap’s most enthralling weirdos.

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I’d love to know more about the origins and goals of the label. Gabe: I always wanted to put out music and we saw, I always credit Charlie Sloth and Fire in the Booth as being a big inspiration. And I noticed how they have put out their freestyles on DSPs and I’m like, oh, we could probably figure out a way to do this, too.

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So the goal is not necessarily to sign artists to contracts for projects, but t o do singles, EPs, stuff like that? Gabe: We do want to eventually sign artists down the line and then Tobby will one day move into more of a management position for artists. But right now we don’t have the necessary funds that we need to make that happen where it makes sense to sign artists. So until then, it’s just like, let’s just put out dope music and just let that ride and see what happens. The most music we ever dropped on a Friday was 14 singles.

John Nurse: The thing is we distribute through ourselves. So a lot of people been on our line stuff as far as distribution, like [proposing a joint venture with a major label] so we’re trying to look for the right situation, but right now we’re going to do it all ourselves.

Gabe P: And then everybody on my team gets a piece of the pie. Everybody gets a piece from Tobby to John, even Calvin who takes photos to Rob the engineer, which is unheard of in the industry. Everybody on my team gets to eat off of whatever we make for the rest of our lives off the music.

What would doing everything you’ve set out to do look like? Gabe P: There’s no angle. It’s just like what’s next? Because if I set an angle for myself, then I’m limiting myself. You know what I’m saying? Drake was just a stepping stone. You could ask [Tobbylola and John], a week after the Drake thing went up, they’re like, “so are you feeling it?” And I’m like, “cool.” Oh, it’s number one on RapCaviar . I’m like, okay, that’s cool. We got shit to do.

Tobbylola, tell me about your path. Tobbylola: I was working in media since I graduated from high school. I was writing for my school’s newspaper. Then when I went onto college, I had the opportunity to start interning at Hot 97. Then at a point I started writing for The Source and then for Lyrical Lemonade. One day I started doing press runs to assist artists. I was working with Boston Richie at the time, and I wanted to bring him to Gabe’s platform. So I had hit up my friend Shauna James from Atlantic Records, and I was like, “Hey, can you connect me with him?” And she did. And I brought Richie over to him and I was like, “I see your set-up here. It is cool. I feel like I could bring some structure.” I felt like I got artists from writing for Lyrical, so I could probably bring them over there. And I was like, “let’s just cook up.” One day Gabe just called me and was like, “Hey, I got my studio now. So you said you want to help me with scheduling, let’s just try for a week.” And then we just tried for a week and then to now they’re obsessed. They haven’t let me go since. But really we just created a family. I just saw there was stuff that was missing there. And then I tried to just be that person to just come on board and really just connect the dots where it made sense

John: A few people have asked me, “You don’t want to go back to the majors?” I’m like, yeah, no, because over there you have to do so much just to get recognized and just to move up, as opposed to now I’m at the head of an independent level and doing bigger things than I would’ve had responsibility for over there.

They’re very steeped in their tradition. It’s like, media publications are like that too, right? John: Especially radio. I used to work in promotions. A lot of people that were there when I was there in 2013, ’14, they’re all still there now. And respectfully, it’s great to hold a job. I ain’t trying to take nobody out. But also there’s got to be some type of balance where you got a lot of young people and the old people to coincide.

Tobbylola: I think that’s what makes On The Radar so different is because really this is a team that was like, we’re all just coming together now, just trying to make things make sense. It’s really not no old head who’s on top of us [saying] “Do this, do this.” The old head really is Gabe.

Gabe P: The old head really is John.

Tobbylola: No, you know I didn’t want to say that. But if you saying whose brand, who calls the shots, obviously it’s Gabe’s brand.

Gabe P: And there’s no one who’s been this young who’s had this much impact on the culture in such a short period of time. You know what I’m saying? I’m not knocking anybody, but I’m saying that there hasn’t been someone who maybe since Angie Martinez or early days of Stretch and Bobbito — they was in college really when they were putting on with Wu-Tang and Biggie and all them, they were the youngest. But since that era of radio, Angie and Flex, no one this young has had this much of an impact on the culture in this type of period of time. And who has given you Drake, Ice Spice, all on the same platform all while maintaining…yeah, Drake was on the platform, but we’re someone dropping today on the platform who has 4,000 followers on the ‘Gram. Nobody does that. Nobody thinks to do that. 

Gabe: I found [Bronx drill rapper] Kay Flock, I did Kay Flock’s first interview. I found B Lovee and Dougie B, I did their first and only interview where all three of them are together. That was the start of everything. DThang , I brought people DThang, I brought people Ice Spice.

John: Literally broke Ice Spice.

Gabe: Literally broke Ice Spice, you know what I’m saying? I did GloRilla’s first-ever New York City interview, you know what I’m saying? So there’s a lot of things that we’ve done that have just paved the way for a lot of other things.

Tobbylola: And then we’re super humble on top of that. It’s so many platforms. For me, I personally feel like we have a team that’s so grateful.

I think y’all are interesting because there are performances, but then there are also interviews. What is the relationship between the two? Being a media platform that does journalistic work and performance work? Gabe P: I mean, I came up under Angie Martinez and I feel like, I don’t really need to say more than that. I feel like hip-hop media right now is everybody wants clicks. Gabe:

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John: And a lot of that also comes from the niche that we have at On The Radio. You catch somebody young and early, you build that relationship through time and trust through time. So they know what they getting into when they come to you. Like, oh no, that’s my mans, he wouldn’t do that to me . And that’s a fact. He wouldn’t do that to you.

Tobbylola: And let Drake’s previous press run in New York be a testimony that these artists, they want to hit these newer platforms. What y’all need to understand is the music industry is changing. The platforms that are catering to the artists are changing as well. And it’s your best bet to probably adapt to how this industry is changing, rather than hating on the new platforms that are creating their own thing.

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"On The Radar Freestyle" lyrics

• Lil Yachty Lyrics

Meaning of The Concrete Cypher (On The Radar Freestyle) by Concrete Boys (Ft. Camo! (USA), DC2Trill, Draft Day, KARRAHBOOO & Lil Yachty)

"The Concrete Cypher (On The Radar Freestyle)" by Concrete Boys (featuring Camo!, Lil Yachty, DC2Trill, Draft Day, and KARRAHBOOO) is a rap freestyle that showcases the individual talents and styles of each artist. The song covers a range of topics including personal experiences, flexing wealth, relationships, fame, and loyalty.

In general, the lyrics reflect a sense of confidence and self-assuredness. The artists assert their success and status through references to money, designer brands, and expensive lifestyles. They display their ability to attract women and their disregard for those who are not on their level.

There's also a sense of competition and the need to prove oneself. The artists boast about their skills, their ability to outshine others, and their relentless pursuit of their dreams. They highlight their work ethic and determination, refusing to let anyone stand in their way.

The references to specific individuals, such as Jada Pinkett Smith and Tyson, serve to reinforce their fame and success by associating themselves with well-known figures in the entertainment industry.

Despite the underlying themes of wealth and success, there's also a recognition of the struggles and hardships they have faced. The artists touch on their past experiences with poverty, their involvement in illicit activities, and the sacrifices they have made to achieve their current positions.

Overall, "The Concrete Cypher (On The Radar Freestyle)" is a showcase of individual talent, braggadocio, and personal stories of triumph over adversity. The artists use their lyrics to assert their dominance and cement their place in the rap industry.

This meaning interpretation was written by AI. Help improve it with your feedback

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Lil Yachty isn’t afraid to experiment. After taking the wock to Poland and a two-year hiatus, the Atlanta rapper returned this year with his alternative album, Let’s Start Here . Making his debut on the Rap Radar Podcast, Yachty invites us into his Georgia mansion to discuss his new sound, critics, fatherhood, and more. Mom, keep quiet!

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Faye Webster is more than a sad girl indie star

Her new album ‘Underdressed at the Symphony’ might be a breakup record, but it contains multitudes of emotion for the Atlanta singer-songwriter

Right now, the world is in thrall to the reign of sad girl indie, and Faye Webster has unexpectedly found herself its incumbent queen. It’s a flat description of the Atlanta singer-songwriter’s allure, who remains a mysteriously open yet reserved character. In interviews, she is affable, but turns her camera off. She can clam up about details of her music, but wax lyrical on her love for yo-yos . And even though she has connected with people across the globe, Webster is notoriously private.

Why is Webster’s music simply ‘sad girl indie’? Her penchant for yearning, plaintive lyricism in songs such as ‘Kingston’ and ‘I Know You’ has won the musician a legion of equally heartbroken fans on TikTok, and her songs regularly appear on Spotify’s ‘ Sad Indie ’ playlist. Even before the app existed, Webster’s unique blend of crooning R&B melodies and bluegrass instrumentals marked her as a true individual in a sea of indie folk artists.

But for the first time in a long time, Webster has found herself enveloped in loneliness and longing in the making of her recently released new album, ‘Underdressed at the Symphony’. It was partially recorded after her split with former long-term boyfriend, Boothlord (“It’s all love”). Before, Booth moved in with Webster during the pandemic to fill the quiet; now she found herself with a lot of time to kill, finding ways to cope with the silence.

To deal with the breakup, Webster’s solution can be found in the title of the record: spontaneous trips to the Atlanta Symphony Orchestra. “A part of it being so therapeutic to me was like, I don’t know anybody here and nobody knows me, and I don’t even know what I’m listening to,” she explains. “Sometimes I’m there and I don’t know what I’m listening to, and that’s sometimes not the reason I’m even there. It’s just kind of the experience in general.”

So yes, ‘Underdressed’ is a breakup record, and you can hear the traces of the aftermath across the album. But the album contains an entire world of emotions within and beyond just sadness. Take ‘But Not Kiss’, which Webster calls one of the “heavier” songs. There’s undertones of frustration and confusion beneath the obvious sadness, where Webster exists in a liminal space of intimacy and alienation.

“I was really struggling with these contradicting feelings,” she says. “The reason I wrote that song was because I couldn’t really find it anywhere else. I never found a song or a piece that portrayed that anti-romantic feeling I was feeling.”

In fact, the secondary emotion one detects throughout the album is not sadness, but boredom. Webster has explored this before her last album, 2021’s ‘I Know I’m Funny Haha’ , written in the bleak dullness of pandemic. Here, she revisits boredom in a completely new context on closer ‘Tttttime’, a meandering ditty that flits between hope and emptiness: “Don’t go out anymore / In half an hour I’ll be bored / I got t-t-t-t-t-t-t-t-time” .

Why does Webster reference boredom so much in her songwriting? “I think it’s inspiring because there’s things I think of that I wouldn’t be able to do if I didn’t reach such a state of boredom,” she says. “And I feel like those are like my favourite moments in songwriting. Even though I’m not really saying anything important, at the same time, I feel like those are the most relatable thoughts. Maybe that’s why I tend to write songs when I’m very isolated.”

In spite of Webster’s isolation, several threads of companionship can be found glinting in the record’s tapestry. The singer recruited guitarist Nels Cline from Wilco, who she previously toured with, along with childhood friend Lil Yachty to write ‘Lego Ring’. Yachty and Webster’s bond has only strengthened in recent years as they’ve watched each others’ careers rapidly ascend, with Yachty dropping surprise psych-rock record ‘Let’s Start Here’ last year.

“That’s always the person I’ve gone to have conversations with, and that’s been really nice,” says Webster. “That alone was something we’ve always had a connection to each other about – somebody you grow up with and then years later, seeing them doing something that you also have a passion for.”

According to Webster, Yachty even bought her two Lego rings in commemoration of their collaboration, one of which she wears every day. “Having him wasn’t random – he put out one of my favourite projects over the time of me making this record,” she explains. “Our friendship is so important to me, so that was very sentimental to me.”

The record also contains Webster’s longtime trusted band who have soundtracked her dreamy pedal-steel arrangements since 2019’s ‘Atlanta Millionaires Club’ . It was their natural camaraderie that gave Webster the space to create more extended, contemplative instrumentals, where the band would riff off each other such as in ‘Wanna Quit All The Time’: “There’s a moment at the end of that song where we faded out, and then my drummer was like… and one, two, three!”, Faye chuckles. “He came back in as a joke, but then I was like, wait – let’s do that.”

Webster also incorporated her newfound love affair with the orchestra; whilst she has previously dabbled in orchestral arrangements on 2022 EP ‘Car Therapy Sessions’, ‘Underdressed’ is an ode to the music she discovered through her recent excursions. “I found myself listening to a lot of Ryuichi Sakamoto,” she says. “That was something that really consumed my ears for a long time. Hearing the way that Ryuchi uses strings is so beautiful – that was the first thing I was really listening to that was very inspiring for me.”

Hearing Webster speak about ‘Underdressed at the Symphony’, it’s clear the record contains multitudes of emotion outside of ‘sad girl indie’, like any other record Webster has produced. From an outsider’s perspective, it must be frustrating to be boxed into such a reductive category, and Webster is not alone in this newfound trajectory. Her current label is part of the Secretly Group, which also houses Mitski and Phoebe Bridgers , the latter of which has spoken out against the “ fetishisation ” of female pain.

But Webster is coy when pressed about her thoughts on unnecessary labels bestowed upon her: “I try very purposefully not to get involved in that stuff,” she says carefully.

“There’s definitely listeners out there that do get it though,” she continues. “If you know, you know. If you’ve actually listened to the entire record, you’ll know. I leave it for those types of listeners. It’s nice to take away anything from music, and if that’s what you take away from it, then cool – I did something.”

Webster is not oblivious to the attention she’s been receiving, though the singer is not on TikTok, she has noticed a definite uptick in fans attending her shows across the years, and has even been the unwitting victim of a phone hurled at her on stage (Webster’s in-ears meant she completely missed what was going on, but a friend sent her a TikTok of the moment later).

She admits the fame is “hard to manoeuvre”, but Webster isn’t worried about being misinterpreted or reduced as a sad girl. At the end of the day, she sees what she takes from the music – connection: “I love my fans so much. It makes me feel really humble because what I look for in music is wanting to feel related to or understood. Being able to see all these people feeling that way, that’s really beautiful.”

Faye Webster’s ‘Undressed at the Symphony’ is out now

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