When does a song stop being hip-hop and start becoming pop? That’s the question that lingers when you press play on Awkward DreadHead’s new single, “The Life.” As it spins through the room—stacked with thumping kicks, trap-style hi-hats, glossy ‘90s synths, afropop vocals, and a bassline that channels Victor Wooten—it’s hard not to pause and ask: What genre is this? But maybe that’s the wrong question. Maybe the real issue is why we’re still trying to categorize music in the first place—especially when race remains such a big part of the equation.
In today’s streaming-dominated landscape, the lines between genres are blurrier than ever. Hip-hop is pop. Pop is hip-hop. Afrobeats is global. And still, artists—especially Black ones—are often forced into boxes that say more about industry habits than musical truth. As Vice once put it: “How do we define pop or mainstream today? And where does music largely made by Black people fit in?”
“The Life” lands right at that intersection. It’s as ready for a Top 40 radio rotation as it is for an underground house party. The soundscape is rich, rhythmically infectious, and vocally smooth—pulling from house, hip-hop, R&B, and afropop in a seamless blend. But because Awkward DreadHead is a Black artist, many will instinctively label it “urban,” “rap,” or “hip-hop.” If a white artist had made the same exact track? There’s a good chance it would simply be called pop.
This isn’t just speculation—it’s a well-documented pattern. The American music industry has long racialized genres. What began in the 1940s as “Race Records” eventually evolved into R&B charts. Today, Billboard’s “Hot R&B/Hip-Hop” list continues that legacy, often functioning as a catch-all for Black music regardless of its actual sonic profile. A soft, synth-heavy vocal track from a Black artist? R&B. A guitar-driven country song by a Black artist? Pulled from the country charts, as we saw with Lil Nas X’s “Old Town Road.”
Meanwhile, white artists like Post Malone can blur genres freely—calling themselves “genreless,” submitting songs to pop categories, and getting celebrated for their versatility. Post himself once said, “I like everything. I don’t put people in boxes.” But the reality is, the industry still does—especially when you’re Black.
Consider the case of Shawn Desman, a Canadian pop singer of Portuguese-Italian descent. Despite making R&B-leaning music,fans often assumed he was Black—because that’s still how genres get associated. The flip side? Black artists like Awkward DreadHead are pigeonholed the moment their vocals land on a beat, no matter how experimental the production may be.
And this isn’t just about classification—it’s about credibility. As sociologist Moses Sumney once said, “White artists get praised for genre fluidity. Black artists get boxed in by it.” There’s a cultural double standard where innovation by white artists becomes “mainstream,” while the same innovation from Black artists becomes “alternative,” “urban,” or “underground.” That distinction affects everything from playlist placements to Grammy nominations.
So when “The Life” fuses afropop with house, dance, hip-hop, and soul, what are we really hearing? A pop anthem? A hip-hop track with global flair? Or just music that reflects the reality of a post-genre generation? The answer is all of the above. But the industry’s answer may still depend on the artist’s skin.
Awkward DreadHead seems to understand that tension—and lean into it. “The Life” is vibrant, danceable, emotionally layered, and incredibly modern. It doesn’t scream for validation from any particular scene. It just exists—smooth, self-assured, and hard to ignore. It’s a track that invites movement but also deep thought, especially about the system that receives it.
In the end, labeling “The Life” as “pop” or “hip-hop” misses the bigger conversation. Who gets to cross genre lines without resistance? Who gets to be seen as an artist first, and not a category? The truth is, many Black artists are still being forced to navigate questions their white peers never have to answer.
So maybe the better question isn’t what genre this is, but why we’re still using genre as a proxy for race and marketability in 2025. In a truly free musical landscape, Awkward DreadHead’s “The Life” would simply be what it is: a great song. And that should be enough.
The first single to his comic book soundtrack The Siege Of Hollowborns drops June 19th. Check it out at www.awkwardreadheadcomics.com
Check out my music at www.awkwarddreadhead.com
YouTube lyric video
https://youtu.be/KR9HA8Q7tmY?si=FTOaZC4yNPCGEKwL
