G Herbo Talks 'PTSD' And The Importance Of Mental Health: "People Need To Treat Mental Health More Seriously" | GRAMMY.com (2024)

On the title track to his newest album, PTSD, Chicago rapper G Herbo enlists his hometown's hip-hop heroes, Chance The Rapper and the late Juice WRLD. (Philadelphia's Lil Uzi Vert is the track's lone guest not hailing from the Windy City.)

On paper, "PTSD" creates the impression of a heavy-hitting anthem: four of the genre's biggest artists coming together like the rap game's The Avengers. Instead, the song offers an intimate look into the minds and vulnerabilities behind hip-hop's new generation.

G Herbo raps about the friends he's lost to Chicago's extreme gun violence. Chance talks about how he and his mother avoided talking about the social issues plaguing his community. Lil Uzi sing-raps about the paranoia-induced "war zone laying inside my head."

Juice WLRD's emotionally charged chorus encapsulates the song's overarching theme: "I got a war zone on inside of my head / I made it on my own, they said I'd be in jail or dead / I've seen my brothers fall over and over again / Don't stand too close to me, I got PTSD."

As the album's poignant centerpiece, the track embodies G Herbo's mission to de-stigmatize mental health and demystify the commonly misunderstood mental disorder, clinically known as post-traumatic stress disorder, across PTSD.

Originally released in February, PTSD is inspired by G Herbo's personal experience with the mental health condition—he was clinically diagnosed with PTSD in 2019—and the therapy treatment he sought to address it. Following a gun-related arrest in 2018, he agreed to enter therapy based on the suggestion of his lawyer. He'd never attended therapy before and, admittedly, he didn't know much about the practice, a likely result of the many barriers preventing people of color from accessing mental healthcare.

"I didn't really think [therapy] was something that I needed or something that was for me, because where I come from, the things that we go through and the things that we experience, we sort of normalize," G Herbo tells GRAMMY.com. "So we don't think that we're crazy. We don't think that we're suffering from mental illness because we're paranoid for our life, because everyone around us is paranoid for their life. So we don't feel like the oddball, and I think that needs to change."

Across PTSD, G Herbo tackles heavy, real-life issues through a personal lens. "Gangstas Cry" dissects toxic masculinity, "Lawyer Fees" chronicles the gun violence that infested his childhood and community, and "Feelings" documents his relationship problems with the mother of his child.

Despite, or maybe because of, its self-reflective intimacy, the album is resonating with G Herbo fans around the world: PTSD became a Top 10 Billboard hit, while the title track has gone gold in the U.S. (In May, G Herbo released the deluxe version of PTSD, which features 14 new tracks.)

"I never really gave it much thought about [the album] being too heavy for people, because I felt like people may look at my situation and my life like I don't do these things, like I don't have problems, like I don't endure pain or stress. I just wanted the world to know that we all are the same," G Herbo says of PTSD, which he calls his "most complete" project to date.

Five months after the album's release, G Herbo continues to use PTSD and his platform to effect the change he wants to see in the world. In May, alongside the Alliance For Safety And Justice, he donated 20,000 protective masks to Chicago's Cook County Jail, which was identified as the "largest-known source of coronavirus infections" in the U.S. in April. For National Minority Mental Health Awareness Month this July, he launched Swervin' Through Stress, an initiative providing therapeutic and mental health resources, including a free therapy-intensive program, to Black young adults.

"I think people need to treat mental health more seriously," G Herbo reflects. "You just have to take these things seriously so more and more people can be aware and more people that could bring change actually want to bring change. That's what PTSD is [about]."

GRAMMY.com spoke with G Herbo about the personal journey behind PTSD, the importance of mental health and the coping mechanisms he's adopting to survive our current volatile world.

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Your latest album, PTSD, is inspired by your experience with therapy. Was that your first time going to therapy?

Yeah. In the process of recording the album, I was going to therapy ... I'd never tried therapy until that period of time of my life.

Your decision to enter therapy came from your lawyer's recommendation after you were arrested in 2018. Looking back at it now, do you think you would have ended up in therapy eventually by your own choice?

I don't think so … But I can't really say that, because as you grow, you experience life more. You never know what your mind may open up to you, but I'm so glad that I did go to therapy. I'm glad that I did take that leap of faith to just go talk to somebody about my situation and just my thoughts, and get 'em to a person with an unbiased opinion.

[The decision to go to therapy] did come from a recommendation from my lawyer because ... as I grew as a man and an artist and having so much going on in my life and so much to lose ... when I got into that situation with the arrest in 2018, I felt like, "What did I do?" Or, "What led me up to this point? What could I be doing wrong? What miscalculated steps did I take, if I thought I was doing all of these things right, to get myself to the next level?"

You could see in life, I'm not in harm's way. I'm not putting myself in danger, but yet I was carrying a gun [that day] because I have post-traumatic stress disorder, because [when] I leave the house every day, I'm paranoid. I'm thinking that my life can be taken from me at any moment, at the drop of a dime, by somebody just making a careless decision or somebody just with nothing to lose, like I once was at a time in my life.

I opened up to my lawyer and told her how I feel and why I carry a gun and why I need to have a guard around me 24/7. She told me to go to therapy, and I felt like it was one step closer to me trying to help myself. So I wanted to speak about it to the world.

You hadn't gone to therapy previously, but you obviously knew what it was before you started your treatment. What was your opinion on or understanding of therapy before you started going?

I honestly didn't know too much about therapy, but that is the point. You're talking to a professional who's supposed to listen to your problems and give you insight on life in a way where you could try to help yourself. I didn't really think that it was something that I needed or something that was for me, because where I come from, the things that we go through and the things that we experience, we sort of normalize.

It's normal, it's everyday life. So we don't think that we're crazy. We don't think that we're suffering from mental illness because we're paranoid for our life, because everyone around us is paranoid for their life. So we don't feel like the oddball, and I think that needs to change.

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You then took that whole experience and channeled it into what became PTSD. How did you go about creating an album out of such a personal experience?

I feel like it was only right for me to touch on [the topic] in a way where it could resonate with the entire world, not just my neighborhood. I began rapping and I was talking about the things that I experienced on that four-to-eight-block radius. I'm not really talking about things that the world can relate to; I was talking about things that only my neighborhood could relate to ... It did go head-on directly with PTSD. It is PTSD: losing friends and people dying, and you being close to death and being afraid for your life.

Therapy is not going to solve your problems, but it will help you think about life in a better way to just move towards where you want to be and just get through the toughest situations. That's why therapy is important to me …

Where we come from, we're not able to vent, we're not able to grieve because so many people around us are grieving and going through the same thing. Who can you vent to? Who can you grieve to?

When you went in to write PTSD at the beginning stage, did you already know you were going to theme it around your mental health and your own experience with PTSD? Or did the idea come to you later when you started working on the project?

The idea came naturally. I just wanted to talk about something that was near and dear to me, talk about my life and everything I've been through from a grown man's perspective. My music, if you go back to even my old catalog ... my first albums, Ballin Like I'm Kobe [2015] and Welcome To Fazoland [2014]—all of these projects, I'm speaking on these same subjects, just from a 16-, 17-year-old perspective.

It was always in a way to help people get through it, to help people better understand me and understand themselves and know that life isn't a coincidence. You're going through these things for a reason. They may be tough, but it's always a way to get through it. It's always a way to find inspiration and motivation in these negative things to change your situation, to turn your situation around. I think it came naturally. I didn't have intentions of creating PTSD the way I did. I think that's what's so special about it.

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The album covers a lot of heavy issues. "Gangstas Cry" tackles toxic masculinity, for example. Were you ever concerned that your fans would not accept the album and what it was trying to dissect?

No, not at all. Because for one, no matter how tough your situation is, there's always somebody that's going through something 10 times as hard. So I'm not afraid to open up. I'm not afraid to be vulnerable in my music. I think that's what the fans connected to the most, because we all cry. Every man in the world has cried before. Whether you want to do it in private, whether you feel it's masculine, [unmasculine] or not, you still have shed tears for something in your life.

So I'm just saying it's OK to do that. I'm just saying it's a right to let it out; you have to do that sometimes. I'm not a crier, but I do cry. I have cried on many occasions for many things. And I'm completely, 100 percent secure in my masculinity. I know that I'm a man, I'm aggressive. I know that there's nothing wrong with crying. I just wanted to give a piece of me to the world that I thought that they would appreciate.

So no, I never really gave it much thought about [the album] being too heavy for people, because I felt like people may look at my situation and my life like I don't do these things, like I don't have problems, like I don't endure pain or stress. I just wanted the world to know that we all are the same.

You dropped PTSD back in February. The world has basically changed since then. The COVID-19 pandemic shut down the world. Protestors have taken to the streets demanding racial justice. A lot of Black citizens have been killed by police in that three-month window. How are you coping with everything now? What are you doing to keep your own mental health in balance?

Now, I feel I'm just trying to pour resources into myself, into my people, and just share resources to make things better. I've been speaking on these exact same things since I was 17 years old. I've always experienced racial injustice, police brutality and police injustice. I have friends who were killed by police when I was in eighth grade ... I'm no stranger to these things.

Now, I think with me just having my platform and me being who I am, I'm able to talk about it in a way where I can bring change to the situation in any way possible. I feel during these times, that's what I'm trying to do the most, just try to be strong for myself and my family through these tough times … [I] try to use my platform to speak on it, where people understand that, "Hey, it's no coincidence we're going through these things; we've been going through these [things]."

To bring change, you have to change. We have to pour resources into each other and start to move one step closer towards making sure that these things never happen again, because they shouldn't.

Read:

You mentioned the normalization of traumatic experiences in your neighborhood. I come from a similar cultural background as you, so I'm highly aware of the stigmas around mental health within ethnic minority communities. As a Latino man, I've heard people in my own community make jokes against therapy. What do you think needs to change in order for minority groups to get over that stigma and embrace resources like mental health and therapy?

I wouldn't say therapy is for absolutely everybody. So many different things can be therapeutic for a person. I feel just us being resourceful to one another, where people can understand that you can treat yourself in a way where you can ... do certain things where people who go to therapy can be resourceful. Certain things may work for certain people. So I feel that's important to just touch on these subjects … whether it's through therapy, whether it's through just talking to a friend, talking to your children or whatever the case may be. We just need to take one step closer towards telling each other.

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This month marks National Minority Mental Health Awareness Month. What would you want people of color and communities of color to learn about mental health?

That mental health is a state. That mental health is real. That anxiety is real. I think people need to treat mental health more seriously ... There's so much pressure right now where a lot of people don't know how to deal with it. I think that the people who do and the people who are in a better mind state, in a better position to survive mentally, physically, economically, financially, [who are] able to help others get through these situations ... I'm not saying you're going to be able to change the world with a blink of a finger. It's not an overnight process. You just have to take these things seriously so more and more people can be aware and more people that could bring change actually want to bring change. That's what PTSD is [about].

Do you feel PTSD accomplished what you wanted it to accomplish?

Yeah, I do. I don't have any regrets about the album, no ill thoughts about anything that it should have did that it didn't do. I felt like I was able to get my story out to the world, and they heard it and they appreciated it. Personally, I felt like it was a complete body of work. The album was my most complete, thought-out, well-put-together project that I've ever done; I know that from experience. I've never put this much time, this much effort—blood, sweat, tears—into my craft the way that I did with PTSD. I feel like the response it's getting is a direct result from that.

Do you think you'll continue to explore heavy issues and personal traumas, like you did on PTSD, in your future music?

Yeah, I do, because I feel there's always that one fan that you may have to speak to. But I think the more I experience life, it's not going to be the same. But people still experience trauma. We still experience pain. We still suffer, regardless of what level you're on. So I think me just being who I am, I'll always be able to speak on that. I'll always have a platform for people to listen because they want me to speak on it; they appreciate it. It helps them the same way it's helpful to me.

My music is therapeutic to me ... The things that I say are hand-in-hand with my life. It's 100 percent real, it's natural, it's organic. So it helps me the same way that it helps my fans. The response that I get from my fans I feel is only going to drive me to go harder with my craft, with my music and with the message that I'm trying to put out.

As June kicked off over the weekend, The Roots notched another glorious celebration at West Philadelphia's Fairmount Park with the 16th annual Roots Picnic. This year's festival featured even more activations, food vendors, attendees, and lively performances.

On Saturday, June 1, the action was established from the onset. October London and Marsha Ambrosius enlivened the soul of R&B lovers, while Method Man and Redman brought out surprise guests like Chi-town spitter Common and A$AP Ferg for a showstopping outing.

Elsewhere, rappers Smino and Sexyy Red flashed their St. Louis roots and incited fans to twerk through the aisles of the TD Pavilion. And Philly-born Jill Scott's sultry vocals made for a memorable homecoming performance during her headlining set.

The momentum carried over to day two on Sunday, June 2, with rising stars like Shaboozey and N3WYRKLA showing the Roots Picnic crowd why their names have garnered buzz. Later in the day, rapper Wale brought his signature D.C. swag to the Presser Stage. And while Gunna's performance was shorter than planned, it still lit the fire of younger festgoers.

Closing out the weekend was a savory tribute to New Orleans courtesy of The Roots themselves, which also starred Lil Wayne, acclaimed R&B vocalists, an illustrious jazz band, and some beloved NoLa natives.

Read on for some of the most captivating moments and exciting sets from the 2024 Roots Picnic.

The-Dream Serenaded On The Main Stage

The-Dream | Taylor Hill/Getty Images for Live Nation Urban

After years away from the bright lights of solo stardom, The-Dream made a triumphant return to the festival stage on Saturday. The GRAMMY-winning songwriter and producer played his timeless R&B hits like "Falsetto" and "Shawty Is Da S––," reminding fans of his mesmerizing voice and renowned penmanship.

His vocals melted into the sunset overlooking Fairmount Park Saturday evening. And even in moments of audio malfunctions, he was able to conjure the greatness he's displayed as a solo act. Although, it may have looked easier than it was for the Atlanta-born musician: "Oh, y'all testing me," he said jokingly.

The-Dream slowed it down with the moodier Love vs. Money album cut "Fancy," then dug into the pop-funk jam "Fast Car" and the bouncy "Walkin' On The Moon." He takes fans on a ride through his past sexual exploits on the classic "I Luv Your Girl," and closes on a fiery note with the "Rockin' That S—." While even he acknowledged that his set wasn't perfect, it left fans hoping to see more from the artist soon.

Smino Rocked Out With His Philly "Kousins"

Smino | Shaun Llewellyn

Despite somewhat of a "niche" or cult-like following, Smino galvanized music lovers from all corners to the Presser Stage. The St. Louis-bred neo-soul rapper played silky jams like "No L's" and "Pro Freak" from 2022's Luv 4 Rent, then dove into the sultry records from his earlier projects.

"Klink" set the tone for the amplified showcase, with fans dancing in their seats and through the aisles. His day-one fans — or "kousins," as he lovingly refers to them — joined him on songs like the head-bopping "Z4L," and crooned across the amphitheater on the impassioned "I Deserve."

Under Smino's musical guidance, the crowd followed without a hitch anywhere in the performance. It further proved how magnetic the "Netflix & Dusse" artist is live, and how extensive his reach has become since his 2017 debut, blkswn.

Nas Took Fans Down Memory Lane

Nas | Taylor Hill/Getty Images for Live Nation Urban

The New York and Philadelphia connection was undeniable Saturday, as legendary Queensbridge MC Nas forged the two distinctive cities for a performance that harnessed an "Illadelph State of Mind."

The "I Gave You Power" rapper played his first show in Philadelphia as a teenager, when he only had one verse under his belt: Main Source's 1991 song "Live at the BBQ." Back then, Nas admitted to underplaying the city's influence, but he knew then what he knows now — "I had to step my s— up." And he did.

The rapper played iconic songs like "Life's a B–" and "Represent" from his landmark debut Illmatic, which celebrated 30 years back in April. He even brought out Wu-Tang Clan's Ghostface Killah to add to the lyrical onslaught, and played records like "Oochie Wally" and "You Owe Me" to enliven his female fans.

Sexyy Red Incited A Twerk Fest

Sexyy Red | Frankie Vergara

Hot-ticket rapper Sexyy Red arrived on the Presser Stage with a message: "Make America Sexyy Again." And as soon as Madam Sexyy arrived, she ignited a riot throughout the TD Pavilion aisles. Twerkers clung onto friends and grasped nearby railings to dance to strip club joints like "Bow Bow Bow (F My Baby Dad)" and "Hood Rats."

Red matched the energy and BPM-attuned twerks from her fans, which only intensified as her lyrics grew more explicit. Sexyy encouraged all of the antics with a middle finger to the sky, her tongue out, and her daring lyrics filling the air. Songs like "SkeeYee" and "Pound Town" added to the nonstop action, leaving fans in a hot sweat — and with their inner sexyy fully unlocked.

Jill Scott Delivered Some Homegrown Magic

Jill Scott (left) and Tierra Whack | Marcus McDonald

To close out night one, the Roots Picnic crowd congregated at the Park Stage for a glimpse of Philadelphia's native child, Jill Scott. The famed soulstress swooned with her fiery voice and neo-soul classics like "A Long Walk" and "The Way." Fans swayed their hips and sang to the night sky as Scott sprinkled her musical magic.

Scott, wrapped up in warm, sapphire-toned garments, was welcomed to the stage by Philadelphia Mayor Cherelle L. Parker. The newly elected official rallied the audience for a "Philly nostalgic" evening, and the GRAMMY-winning icon delivered a soaring performance that mirrored her vocal hero, Kathleen Battle. "Philadelphia, you have all of my love," Scott gushed. "I'm meant to be here tonight at this Roots Picnic."

"Jilly from Philly" invited some of the city's finest MCs to the stage for the jam session. Black Thought rapped along her side for The Roots' "You Got Me," and Tierra Whack stepped in for the premiere of her and Scott's unreleased rap song, a booming ode to North Philly.

Fantasia & Tasha Cobbs Leonard Brought Electrifying Energy

Fantasia | Taylor Hill/Getty Images for Live Nation Urban

Led by the musical maestro Adam Blackstone, singers Tasha Cobbs Leonard and Fantasia set the warmness of Sunday service and their Southern flare with a "Legacy Experience." And as the title of the performance suggests, their fiery passion was a thread of musical mastery.

As fans danced across the lawn, it was just as much a moment of worship as it was a soulful jam — and only the dynamic voices of the two Southern acts could do the job. "Aren't y'all glad I took y'all there this Sunday," Blackstone said.

The sanctity of Tasha Cobbs Leonard's vocals was most potent on "Put A Praise On It," and Fantasia's power brought the house down even further with classics like "Free Yourself" and "When I See U."

"I wasn't supposed to come up here and cut. I'm trying to be cute," Fantasia joked after removing her shoes on stage. The North Carolina native's lips quivered and her hands shook in excitement, as she continued to uplift the audience — fittingly closing with a roaring rendition of Tina Turner's "Proud Mary."

Babyface Reminded Of His Icon Status

Babyface | Marcus McDonald

There are few artists who could dedicate a full set to their own records, or the hits they've penned for other musicians. And if you don't know how special that is, Babyface won't hesitate to remind you. "I wrote this back in 1987," he said before singing the Whispers' "Rock Steady."

Throughout the legendary R&B singer's 45-minute set, he switched between his timeless records like "Every Time I Close My Eyes" and "Keeps on Fallin'," and those shared by the very artists he's inspired — among them, Bobby Brown's "Don't Be Cruel" and "Every Little Step,"

Fans across several generations gathered to enjoy the classic jams. There was a look of awe in their eyes, as they marveled at the work and memories Babyface has created over more than four decades.

André 3000 Offered Layers Of Creativity

André 3000 | Marcus McDonald

Speculation over what André 3000 would bring to his Sunday night set was the buzz all weekend. Fans weren't sure if they were going to hear the "old André," or the one blowing grandiose tones from a flute on his solo debut, 2023's New Blue Sun.

The former Outkast musician went for the latter, and while some fans were dismayed by the lack of bars, hundreds stayed for the highly rhythmic set. "Welcome to New Blue Sun live," André said. The majestic chimes and flowy notes of his performance reflect a new creative outlook, and as the performance went on, there was a cloud of coolness that loomed over the amphitheater.

His artistic approach is new to many fans, but he never stopped showcasing the personality they have grown to love. After delivering a message in an indistinguishable language, he panned to the crowd with a look of deep thought and said, "I just want y'all to know, I made all that s— up." It's the kind of humor fans have admired from him for decades, and moments like those are one of many reasons they stayed to watch the nuances of the MC's set.

Lil Wayne & The Roots Gave New Orleans Its Magnolias

Trombone Shorty (left) and Black Thought | Taylor Hill/Getty Images for Live Nation Urban

The sound of jazz trombones and the gleam of Mardi Gras colors transported West Philly to the bustling streets of New Orleans for the closing set of Roots Picnic 2024. The ode to the Big Easy featured natives like Lloyd, PJ Morton and the marvelous Trombone Shorty, all of whom helped deliver a celebratory tribute that matched the city's vibrance.

Lloyd floated to the stage singing The Roots' "Break You Off," and delved into his own catalog with "Get It Shawty" and "You." Morton soon followed with a soulful run of his R&B records, including "The Sweetest Thing" and "Please Be Good."

With anticipation on full tilt, Black Thought welcomed the festival closer to the stage with a message: "It's only right if Philly pays homage to New Orleans that we bring out Lil Wayne." And right on cue, Wayne drew a wave of cheers as he began "Mr. Carter."

Wayne strung together his biggest Billboard-charting and street hits, including "Uproar," "Hustler's Muzik" and "Fireman." The performance was a rousing cap-off to the weekend — and it clearly meant a lot to the rapper to rep his city in such grand fashion.

"This is a dream come true," Wayne said. "It's a motherf–ing honor."

Memorial Day weekend is upon us, which means we're inching closer to another music-filled summer. Less than halfway through 2024, we've received a veritable bounty of new music from Green Day, Taylor Swift, Billie Eilish, Kacey Musgraves, Zayn … the list goes on and on.

Clearly, no matter which musical world you inhabit, 2024 has had something for you — and the slate of today's releases continues that streak. Pull up your favorite streaming service — or dust off your record player — and check out this slate of new music that's fresh out of the oven.

Sexyy Red — In Sexyy We Trust

The #MakeAmericaSexyyAgain train is unstoppable. Amid numberless recent accolades — including five nominations at the 2024 BET Awards, including Best Female Hip Hop Artist and Best New Artist — Sexyy Red has dropped a new EP, In Sexyy We Trust. By the sound of "Awesome Jawsome," we all live in Sexyy's lascivious, irresistible universe: "Give me that awesome jawsome, suck it, baby, use your teeth / Shake your dreads between my legs, do it for a G." (Take that under advisem*nt.) And with more than 8.3 million YouTube views for her "Get it Sexyy" music video, legions are clamoring for her second official release without a doubt.

Charlie Puth — "Hero"

"You smokеd, then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist." So recounted the one and only Taylor Swift in the title track to her new album, The Tortured Poets Department, which rocketed Puth's name even further into the public consciousness. This shine partly inspired Puth to release "Hero": "I want to thank @taylorswift for letting me know musically that I just couldn't keep this on my hard drive any longer," he stated on Instagram. "It's one of the hardest songs I've ever had to write, but I wrote it in hopes that you've gone through something similar in your life, and that it can fill in the BLANK for you like it did for me," he continued. Leave it to a hero to shake that loose for Puth.

Vince Staples — Dark Times

If you're currently rounding a difficult corner in your life, Vince Staples' latest album is a trusty companion. Take the first single "Shame on the Devil," where he licks his wounds amid thick isolation and friction with loved ones. "It's me mastering some things I've tried before that I wasn't great at in the beginning," he said in a statement. "It's a testament to musical growth, song structure — all the good stuff." By the sound of this haunted yet resolute single, Dark Times could materialize as Staples' most realized album to date — and most hard-won victory to boot.

Aaron Carter — The Recovery Album

By all means, we should have Aaron Carter alive, healthy and, yes, recovered. But the beloved singer unexpectedly died in November 2022. (He accidentally drowned in his bathtub after taking sedatives and inhaling a spray cleaner.) Still, the 2000s-era teen star, who gave us "I Want Candy," "Aaron's Party (Come Get It)" and "That's How I Beat Shaq," left us with a poignant, posthumous statement in The Recovery Album: "Tomorrow is a new day / Tryin' to shake the pain away / 'Cause I'm still in recovery," he sings in the title track. Carter, who was open about his struggles with addiction, substance abuse and mental health, is also in the news for a rough ride of a documentary, Fallen Idols: Nick and Aaron Carter. But if you'd rather focus on Carter the artist, The Recovery Album shows that his considerable talent remains undimmed.

DIIV — Frog in Boiling Water

The idiom of a frog in boiling water is a familiar one, but it's never quite unfolded in music like this — and DIIV, one of rock's most impressionistic acts, is the band for the job. In a press statement, the group, led by Zachary Cole Smith, called Frog in Boiling Water a reflection of "a slow, sick, and overwhelmingly banal collapse of society under end-stage capitalism." To wit, tracks like "Brown Paper Bag," "Raining on Your Pillow" and "Soul-net" sound like dying in a beautiful way. "Everyone Out," another album highlight, provides a clear, critical directive.

Shenseea — Never Gets Late Here

To hear Jamaican leading light Shenseea tell it, she's been boxed in as a "dancehall artiste," but she's so much more than that. "By next year I want to be international," she said back in 2018. "An international pop star." Her second album, Never Gets Late Here, might be that final boost to the big time she's chasin. Throughout the sticky-sweet album, the genre traverser tries on disco vibes ("Flava" with Voi Leray), an Afrobeats tint ("Work Me Out" with Wizkid), and a bona fide, swing-for-the-rafters anthem in the power ballad "Stars." "Everyone is looking at everything I'm going through," she recently told Revolt, "which is special because they can see the fight I'm getting, but still see me pushing and persevering."

Trueno — EL ÚLTIMO BAILE

Argentine phenom Trueno — a rapper, singer and songwriter of equal fire — has been on a sharp rise ever since his debut, 2020's Atrevido. This time, he's especially leaning into his rap skills as he pays homage to his beloved hip-hop. And, as he explained to Rolling Stone, he's been diligently crafting this artistic culmination. "We also don't want to rush anything. We're working day and night on it," he said of EL ÚLTIMO BAILE. "I'm an artist who's all about albums and big projects, so I'm immersed in this." We're about to be, too.

Yola — My Way

Yola has been nominated for six GRAMMYs to date; this impressive feat has thickened the momentum behind her latest batch of music. For her new My Way EP, the British singer/songwriter tapped GRAMMY-nominated producer Sean Douglas, who's worked with everyone from Lizzo to Madonna to Sia. Not that this synthesist of progressive R&B, synth pop, electronica, and more needs a reintroduction. But if you're not already on board with this musically keen, lyrically conscious artist, songs like "Future Enemies" should lure you there.

2025 GRAMMYs To Take Place Sunday, Feb. 2, Live In Los Angeles; GRAMMY Awards Nominations To Be Announced Friday, Nov. 8, 2024

In a world of braggadocio lyrics, where weakness is often looked down upon, hip-hop can often seem far from a safe place to discuss mental health.

But underneath its rugged exterior, hip-hop culture and its artists have long been proponents of well-being and discussing the importance of taking care of one's mental health. Openness about these topics has grown in recent years, including a 2022 panel discussion around hip-hop and mental health, co-hosted by the GRAMMY Museum, the Recording Academy's Black Music Collective, and MusicCares in partnership with the Universal Hip-Hop Museum.

"Artists are in a fight-or-flight mode when it comes to being in this game," said Eric Brooks, former VP of Marketing & Promotions at Priority Records who worked with NWA and Dr. Dre. "And there need to be strategies on how to deal with the inner battles that only happen in the mind and body." 

The panel only scratched the surface of the many times hip-hop culture has illuminated critical mental health issues that often remain hidden or under-discussed in the music industry. In recognition of Mental Health Awareness Month, read on for 10 times hip-hop has shone a light on mental health.

J. Cole Apologized To Kendrick Lamar

A long-simmering beef between Drake and Kendrick Lamar was reignited in March 2024 when Metro Boomin' and Future released "Like That." The track featured a scathing verse from Kendrick, where he took aim at Drake and J. Cole, and referenced the pair's collaborative song "First Person Shooter."

The single begged for a response, and J. Cole, under what was presumably a significant amount of pressure, surprise-released his Might Delete Later. The album featured "7 Minute Drill," in which Cole calls Kendrick's To Pimp, A Butterfly boring.

But the same week Cole's album came out, he apologized to Kendrick onstage at his Dreamville Fest, saying it didn't sit right with his spirit and that he "felt terrible" since it was released. Cole added that the song didn’t sit right with him spiritually and he was unable to sleep. Cole subsequently removed "7 Minute Drill" from streaming services.

Strong debate followed about whether or not Cole should have removed the song. However, many heralded Cole’s maturity in the decision and said it was an important example of not doing things that don’t align with one's true emotions, and avoiding allowing others expectations of you weight down your own physical and mental health.

SiR Spoke Candidly About Depression & Sobriety

Although an R&B artist, TDE singer SiR is hip-hop adjacent, having collaborated with former labelmate Kendrick Lamar on tracks like "D'Evils" and "Hair Down." SiR recently spoke with GRAMMY.com about the troubles that followed him after the release of his 2019 album Chasing Summer.

"I was a full-blown addict, and it started from a string of depression [and] relationship issues and issues at home that I wasn't dealing with," SiR says. After the Los Angeles-based singer had hit rock bottom, he found the spark he needed to do something about it. His initial rehab stint was the first step on the road to change.

"I was there for 21 days [in 2021]. [The] second time, I was there for two months and the third time wasn't technically rehab…I did personal therapy, and, man, [that] did wonders," he recalls.

SiR also tackled the stigma many Black communities place on therapy and seeking help for mental health issues. "I would've never done something like that if I was in any other position, so I'm thankful for my issues because they led me to a lot of self-reflection and forgiveness," SiR says.

Big Sean Educated His Audience About Anxiety & Depression

One of the biggest challenges in addressing anxiety and depression is the feeling that those issues must be kept under wraps. In 2021, Big Sean and his mother released a series of videos in conjunction with Mental Health Awareness Month, in which the GRAMMY nominee opened up about his battles with depression and anxiety.

In one of those videos, Sean and his mother discussed  the importance of sleep and circadian rhythms when managing depression and mental health issues. In an industry that prioritizes the grind, the hip-hop community often overlooks sleep — much to its detriment.

"Sleep is the most overlooked, disrespected aspect of our well-being," said Myra Anderson, Executive Director & President of the Sean Anderson Foundation and Big Sean's mother. "Even one day without good sleep can mess up your hormones severely."

As a busy recording artist, Sean concurs that, for him, a lack of sleep contributes to challenges with anxiety. “If I’m not in the right mindset, I don’t get the right sleep,” says Sean in the mental health video series. “Then that anxiety rides high, and my thoughts are racing. I’m somebody that lives in my head.”

G.Herbo's "PTSD" Addressed The Impact Of Street Violence

Eastside Chicago's G. Herbo is an artist vital to the city's drill music scene. On "PTSD," the title track of his 2020 album, Herbo raps about his struggles coping with violence and loss.

"I can't sleep 'cause it's a war zone in my head / My killers good, they know I'm hands-on with the bread / A million dollars ahead, I'm still angry and seeing red / How the f*ck I'm 'posed to have fun? All my n— dead."

The lyrics echoed the realities of what G. Herbo grew up seeing in O-Block, considered by many to be one of the most dangerous neighborhoods in Chicago. But it wasn't just a song title; G. Herbo was diagnosed with PTSD in 2019 and began therapy to manage it, showing that even rap's most hardened have opened themselves up to professional help.

"I'm so glad that I did go to therapy," G. Herbo told GRAMMY.com in July 2020. "I'm glad that I did take that leap of faith to just go talk to somebody about my situation and just my thoughts and get 'em to a person with an unbiased opinion."

Joe Budden Opens Up About His Darkest Times

In 2017, on the "Grass Routes Podcast," rapper-turned-podcaster Joe Budden opened up about multiple suicide attempts and his lifelong battle with depression.

"For me, there have been times where I've actually attempted suicide," Budden shared. "As open as I've been when it comes to mental health, it wasn't until retirement from rapping that I was able to dive into some of the things the fans have seen."

Never one to shy away from rapping about his mental health struggles, Budden songs like "Whatever It Takes" peel back the layers on an artist fighting his demons: "See, I'm depressed lately, but nobody understands / That I'm depressed lately, I'm sorta feelin repressed lately."

Budden continued to be a champion for mental health that year, including on his former Complex show "Everyday Struggle," where Budden broke down while discussing the suicide death of fellow rapper Styles P's daughter.

In recent years, Budden has uses his wildly popular "The Joe Budden Podcast" as a tool to discuss his own struggles and raise awareness of mental health issues.

Grandmaster Flash & The Furious Five Broadcast A Serious "Message"

Hip-hop culture has long used rap as a tool to highlight mental health and the everyday struggles of its community. Released in 1982, Grandmaster Flash and The Furious Five's "The Message" is an early, effective example of vulnerability in hip-hop.

"The Message" described the mental health impacts of poverty and inner-city struggle, describing desperate feelings and calling for support in underserved communities:"I can't take the smell, can't take the noise / Got no money to move out, I guess I got no choice." Perhaps the most recognizable lyric comes from Melle Mel, who raps, "Don't push me cause I'm close to the edge/I'm trying not to lose my head."

Eminem Got Honest About Depression While In Rehab

On "Reaching Out," Queen and Paul Rodgers sing "Lately I've been hard to reach / I've been too long on my own / everybody has a private world where they can be alone." These lyrics were sampled on the intro to Eminem's 2009 single "Beautiful," a raw tale of the rapper's struggles with depression. Half of the song was written while Eminem was in rehab, including lyrics like "I'm just so f—king depressed/I just can't seem to get out this slump."

The lyrics pierced the core of Eminem's audience, who were able to see the parallels between the struggles of a rap superstar and their own issues. The song reached the Top 20 of the Billboard Hot 100 and was nominated for a Best Rap Solo Performance GRAMMY Award. In an interview with MTV about the song, Eminem said it was an important outlet for him at a challenging time.

But it was far from the first time Eminem has discussed mental health. One of the earliest examples was in his song "Stan," where Eminem rapped from the perspective of an obsessed fan who ended up killing himself and his wife after Eminem failed to respond to his fan mail. In a 2000 interview, Eminem told MTV that he wrote the song to warn fans not to take his lyrics literally.

Logic Sparked Change With A Number

One of the most impactful moments hip-hop has seen regarding mental health and sparking change was when Logic released his song "1-800-273-8255" in 2017. The record, named after the real National Suicide Lifeline Prevention phone number, which is now 988, hit the top three on the US Billboard Hot 100.

Following the song's release, the British Medical Journal released a study sharing data that showed the song contributed to a 27 percent increase in calls to the prevention hotline that year and may have even contributed to an actual reduction in deaths by suicide.

Logic's single further proved that rap music's impact extends well beyond charts and sales. "1-800-273-8255" highlighted the connection artists have with their fans, as well as the ways music can be a tool to cope with challenges like mental health and suicidal thoughts.

Kid Cudi Opened Up About Suicidal Urges

Cleveland's own Kid Cudi has never shied away from putting his emotions on record, rapping vividly throughout his career about his struggles with mental health. Cudi records, like the hit single "Pursuit of Happiness," are brutally honest about trying to find happiness in a world filled with trials and tribulations.

In a 2022 interview with Esquire, Cudi recalled checking himself into rehab in 2016 for depression and suicidal urges. He had been using drugs to manage the weight of his stardom and even suffered a stroke while in rehab. "Everything was f—ed," Cudi said.

Cudi took a break to develop stability, returning to the spotlight with the 2018 project Kids See Ghosts in collaboration with Kanye West.. Today, Cudi and his music remain pillars of strength for those facing similar challenges.  

Jay-Z Detailed The Importance Of Therapy & Getting Out Of "Survival Mode"

In 2017, Jay-Z released his critically acclaimed thirteenth studio album. 4:44 was packed with lessons on family, mental health, and personal growth.

An interview with the New York Times, Jay-Z discussed how helpful therapy had been to him. Therapy helped the rap superstar in his interactions with other people — something that had been hardened growing up as a black man in Marcy Projects. "I grew so much from the experience," he told the Times.

"I think the most important thing I got is that everything is connected. Every emotion is connected, and it comes from somewhere. I understand that, instead of reacting to that with anger, I can provide a softer landing and maybe, 'Aw, man, is you O.K.? You're in this space where you're hurting, and you think I see you, so you don't want me to look at you. And you don't want me to see you,'" he said. "You don't want me to see your pain."

The album also unpacked Jay-Z's infidelity. "I'll f— up a good thing if you let me," he raps on "Family Feud." In the same interview, Jay-Z shared that growing up in the hood put him into "survival mode," impacting his abilities to be a good partner and husband earlier in life.

"You shut down all emotions. So even with women, you gonna shut down emotionally, so you can't connect," he reflected. "In my case, like it's, it's deep. And then all the things happen from there: infidelity."

Chief Keef fans have been awaiting a sequel to his influential mixtape Almighty So since he released it in 2013. The project came out in the midst of a magnificent and experimental run for Keef, when he was changing his style seemingly at will from Almighty's almost avant-garde soundscapes to woozy, autotuned melodies (Bang Pt. 2) to stoic street tales (Back From the Dead).

Keef, now 28, has been well aware of the anticipation for a follow-up to Almighty So, teasing the project since 2019. Five years later, it's finally here — but it might not quite be what fans were expecting.

In keeping with Keef's mercurial and exploratory artistic nature, Almighty So 2 has very little to do with its predecessor, save that comedian Michael Blackson does skits on both. In fact, Keef tells GRAMMY.com that the title of the project does not mean that he views it as a sequel to Almighty So.

"There's no connection at all," he asserts. Almighty So is his nickname, and one of his many alter egos; it stems from "Sosa," the Scarface-inspired nickname he's been using since the beginning of his career. The title, he says, "is not just a project that I dropped years ago. It's me. I'm still almighty."

Almighty So 2, released May 10, is indeed very different. It boasts a Keef who is nearly free of vocal doublings and ad libs, ready to let his voice clearly be heard on a wide range of subjects, including some introspective and emotional looks at himself, going all the way back to his childhood.

Several days before the project's release, GRAMMY.com caught up with Keef while he was at home in Los Angeles. Below, the Chicago-born rapper breaks down the album's lyrics and music, its most surprising guest appearance, how he views his own legacy, and his return to his hometown for the first time in over a decade.

This conversation has been lightly edited for length and clarity.

You've been talking about this record since 2019, and originally you were saying it's going to have a lot of melody. The album I heard is very different from that. Can you tell me how and why the vision changed?

I just wanted to do something I never did. A couple of songs is stuff that you probably would never hear me do.

What's different about those songs?

Just more rapping about real things instead of flexing or talking about cars and weed. I'm rapping about real stuff in my life — in life, period.

"Believe" is like that.

Oh yeah, "Believe," I forgot about that. You really know these songs. Okay, that's dope.

I heard that song as being about wanting and trying to change. Can you tell me about writing that and deciding to open up a little bit?

When I was making that beat, it gave me that feeling of, let some stuff out. That's all.

There's a line on there that really grabbed me. You're talking about growing up and you say you had to be an "evil kid." The word "evil" really struck me. What do you mean by
"evil"?

Because I was always smart — brilliant, intelligent. My circ*mstances had to be different, though. There wasn't a way for me to really show…I had to do the streets thing. I had to be a gangb*nger. I had to grow up doing all that stuff instead of my potential that I know that I have, that I'm using doing all this stuff like designing. I can do everything. Really, literally. I probably could fly a plane, too.

Before I get into my ideas about it, what's different about your rapping on this album?

I feel like I'm just old. I'm 28, I'm finna be 29 now, man. I'm not the same young boy that grew up in Chicago on 54th and 61st. I guess you can call it growth.

I still got some stuff on there like the regular Sosa — the turn up, the fight-in-the-club or whatever you want to call it. Jump around, mosh pit music. I still got that.

I was thinking more about just the sound of your rapping. There was almost no doubling, almost no ad libs. Your voice is very clear. Can you tell me about that creative decision?

I haven't been doubling like that. I don't know why I stopped it. You're right, I wanted to be more clear.

Once I do a song, if I didn't do the ad libs, it must have not needed ad libs. When I do ad libs, it's like, I gotta do these ad libs. And if a song doesn't have ad libs on it, probably I can't really say the stuff that I want to say on the ad libs, or I didn't know how to put it. So I just said, scratch the ad libs and it's good like that. It's perfect. You don't need it, or the doubles.

You have two songs on this record, "Runner" and "1,2,3," where you do that Dipset thing of talking back to the vocal sample. Why'd you do that?

I grew up on Juelz [Santana] and Cam'ron and Jim Jones. On 61st, we was a clique called Dipset, which comes from them. That's where I come from, so that's what I know. I guess I'm still living that right there.

Tell me about making beats for this album. There was some sampling in there, which is something you haven't done too much of.

I started sampling in probably 2019, 2020, or something like that. A lot of my producer friends, even my rapper friends, be like, "I love the way you sample. Damn, how do you sample like that?" Even though sometimes, I'll just let a sample play — it won't even be a chopped-up sample.

If you get a beat from someone else, do you go in and add stuff to it?

Yeah. I can't take a beat and not put my stuff on it. Because it might be a dope beat, but if I feel like it need a couple more snares or a snare roll or some extra high hats or a bridge, I'll add my stuff in.

The album has some introspective lyrics, but it's also very funny.

I want to have some fun with it. A lot of people just drop projects and be regular degular. I wanted to do different.

Like one song on the album, it takes four minutes to come on. It's just a beat and there's a skit playing of a dude in heaven talking. It's for car rides or trips. I don't know, I just wanted to do something different than what's regularly done all the time.

What's the connection between this album and the first Almighty So? Why call it Almighty So 2?

There's no connection at all. It's just, Almighty So, that's me. It's not just a project that I dropped years ago — it's me. I'm still Almighty So. I might not call myself that all the time, but it's forever me because when I did come out, it's something that I made and I stuck with it.

It's just a name that everybody know. It's going to go down in the books. Forever, I'm Almighty So. I just had to do a number two, as in growth. It's the growth version of me.

I'm trying to display that I'm not the same 16, 17, 18-year-old that was running around Chicago with a gun on his hip. I'm far away in Los Angeles, California in a big, stupid-ass house with nine bathrooms and eight bedrooms. I got 12 cars outside my house, and they all mine. I don't have to have that gun on my hip. I ain't gotta watch my back all the time.

I'm not the same. I'm a different guy. I feel like I'm better now than I ever was. I'm a better individual: the way I think, the way I talk. I'm more talkative now. At first, I wasn't even f—ing talking, bro. At first, you couldn't get me to say s— but a couple words.

When was the last time you listened to the first Almighty So?

I don't listen to that thing. Everybody else around me do. From friends to fans, everybody still listen to it, but I don't listen to it, barely ever. Every blue moon, I might end up playing it somehow. Because don't forget, I was listening to that s— nonstop when I made it. And I had to perform a lot of it too. So I know it by heart. I don't need to listen to it.

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You have your first performance in Chicago in many years coming up at the Lyrical Lemonade Summer Smash in June. How are you feeling about it?

It's been a while, man. I ain't gonna lie, it's gonna be like I'm a tourist when I go there.

It's been a long, long time. It's been like 11, 12 years since I touched the pavement in Chicago, or Illinois, period. I'm ready. I know it's going to be a big thing. A lot of new people probably think I'm a ghost. There probably be teachers like, "Yeah, he went to this school," [and the students will be like,] "No, no, he ain't real."

So a lot of people are going to be excited, just knowing I'm from there and I ain't been there in so long. People that's not in even Chicago — all them surrounding cities gonna show up [too], because Sosa has not been home. And they know it's gonna be big.

Given what happened back in 2015, when the cops shut down your hologram's concert, are you worried that the authorities will be looking for an excuse to shut it down?

Hopefully they won't shut it down. I ain't been there in 11 years. I ain't done nothing to no-motherf—ing-body, man. I ain't in no cases, no RICOs, no murders, none of that s—. Leave me the f— alone, man.

I've been chilling, making clothes and making music. Don't shut me down. And even if they did, I don't care. I'm going home. Back to L.A. I go. At least y'all know that I tried.

From the beginning of your career, you've had this association with the word "turbulence." You use Turbo as an alter ego.

[Laughs] How do you know all this? This is some Nardwuar s— right now, man.

When did that start? Do you remember the first time you were like, "Oh, that word, that's me?"

You said, when did it start? It's my alter egos I just make in my damn head. That's all. I'm versatile, so I never make the same sounding s—. Every song you listen to of mine, it's not going to be like, "That sounds like the last one I just played."

I just got my alter egos, and I just make names. And then Turbulence, Turbo, that just came with one of my alter egos from 2017. Every other year I got a new name and a new ego.

Lately I haven't done it, though. I've been chilling, on some grown man ish. I feel like [making alter egos is] more the young Sosa. Like I said, this was in 2017 when I made that name. I haven't really been doing it lately. No new aliases.

You talked earlier about designing clothes and doing other creative stuff. When you're making art or graphics, or designing clothes, what feels the same as making music to you, and what feels different?

It's the exact same thing. S—, just like I make a beat, making a shirt takes the same creativity. It's just in a different form. Instead of melodies, you're using pictures and s—. You're drawing stuff. Instead of drawing that melody in FL Studio, you're drawing an angel for a shirt.

It's the exact same thing. Even the colors. The colors are like the EQ on the beat or on the song — it brings out the light in the stuff.

So yeah, it's actually the same thing to me. And I've been doing this same s—. All the clothing, the beats, I've been doing the exact same thing that I'm doing now since 2008. How many years is that? That's a long time.

Like the Glory Boys logo: I made that logo in late 2009. I was what, 13, 14? I was doing this s— since I was 10, 11. It started when my momma bought me a computer. She bought me a computer when I was like 6. And then I was doing unbelievable things, unimaginable things.

When I was doing that, I knew that this is my calling. Like, you real good with computers, if you're not good with nothing else. Anything with a screen, I could do it my sleep. If I show you the s— I can do, you'd be like, what in the f—? I'm talking coding — I can code some s— up. Your mind would be blown.

One of the things that does connect this album to the first Almighty So is you have Michael Blackson come back. Why?

Because he was on the first one. I'm just like, I got a skit or two for him. I got a couple of different skits from a couple different people. I got Fabo from D4L on there. He's on "Almighty" the song, talking. I got Donterio from my city, a funny dude I mess with. He be like, "On baby, on baby" — he famous for saying that.

I got Michael Blackson. I wanted to make it fun and funny, so it ain't just like you're riding around listening to regular music. I wanted to make it a type of movie, but just in the music form.

One of the guest appearances that really got my attention was Tierra Whack. I thought she was great.

Yeah, me and Tierra, we're real friends and we talk. And I love the way she do everything, so I had to put her on my s—, man. Just on some random s— — like, they won't expect no damn Tierra Whack, you know? So I had to do that. And I got my little weird ways, I'll tell you that.

I wouldn't have guessed she would be on this album.

Yeah, I know you wouldn't. Nobody would. Chief Keef and Tierra Whack? How and where and when? I wanted her to do something different than what she do. I was like, "I got this song I want you to do, but it ain't nothing like you always do. It's different." And she's like, "Hell yeah, come on, let's do it." That's my dog, for real for real.

A lot of critics talk about how influential you are. Are you aware of people saying that stuff about you?

Everywhere! If I had 500 M's every time [I heard that], I'd be Jeff Bezos. The f—? I think I'd probably be bigger. I would be more rich!

I be hearing that a lot, though, man. I be tired of hearing that s—. I be like, we know. Me, you, and God know that. It's okay. Let people do what they do, man. I was a big fan of Gucci [Mane] and Lil Wayne. Still am. So if I got people who love me like that, s—, man.

I used to get mad about it, but I don't give a f—. I'm a big fan of those two boys I just said. Even to this day, we still ride around listening to the old Gucci. If you get in our car and we on tour, all you going to hear is Gucci Mane from 2006, 7, 8, and 9, 2010, 2011. And we still even sometimes take our raps [from that]. The old Lil Wayne, I still even rap like that. If you listen to "Jesus," I got his flow — some Lil Wayne, the old Wayne, inspiration. So I guess I inspire, the way they inspire me.

Are you still determined to change your style frequently? That used to be a thing about you: every year you'd have a whole new approach to music.

You hip, bro. You smart as hell, I ain't gonna lie. That's why I'm talking to you like I am. But anyway, you're right, I don't necessarily.

How I am, though, I never do the same s—, like I told you. You'll never say, "This sounds exactly the same as the other one." I probably got, like, two songs [that sound alike], and that's just if I'm messing with the same producer.

So I can't say that every year I take that approach. But I guess every day I take that approach, or any time I pick up the damn microphone. I'm just trying to think, I want to do something different, or at least try.

Do you think of yourself primarily as a rapper? A producer? A person who's good with computers?

What I say is I got angles like Kurt. You know Kurt Angle? Jack of all trades.

Call me Jack, don't call me Sosa. I guess I got a new alias today — we made one.