Travis Scott

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• Top 6 Trap/Modern Hip-Hop Artists of All Time

  Currently #3 · score 0

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• Migos

  Migos, a trio from the Atlanta suburb of Lawrenceville, popularized the "Migos flow," a rapid, triplet-based rhythmic vocal delivery that became one of the most widely imitated rap flows across the entire genre following the group's 2013 breakout hit "Versace." Their 2016 song "Bad and Boujee" topped the Billboard Hot 100, and the group's continued influence on trap music's rhythmic and ad-lib-heavy vocal style made them one of the most structurally influential rap acts of the 2010s, with their signature flow adopted by numerous subsequent artists across the genre. The trio's combination of family and close friendship ties — members Quavo and Takeoff were uncle and nephew, with Offset a cousin — gave Migos a tightly bonded internal dynamic that shaped both their creative chemistry and, following Takeoff's tragic 2022 shooting death, the group's profound personal loss. Migos's combination of genuinely reshaping mainstream hip-hop's dominant rhythmic flow and their sustained commercial success throughout the 2010s has made them one of the most structurally influential trap acts in the genre's modern development.

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• Future

  Future built one of the most prolific recorded catalogs in modern hip-hop, releasing mixtapes and albums at an unusually rapid pace throughout the 2010s, and his distinctive Auto-Tune-processed vocal delivery became one of the most widely imitated vocal styles in contemporary trap music. His 2017 back-to-back self-titled albums, released in consecutive weeks and both debuting at number one on the Billboard 200, made Future the first artist in history to achieve that specific feat, reflecting both his commercial dominance and his remarkable recording pace during that period. Future's lyrical content, frequently addressing drug use, emotional numbness, and romantic disillusionment with a distinctly melancholic undertone beneath its trap production, established a template of emotionally vulnerable, melodically sung trap rap that significantly influenced subsequent artists across the genre. His combination of prolific output, genuine vocal and stylistic innovation, and sustained commercial dominance across more than a decade has made Future one of the most structurally influential and commercially significant figures in modern trap and hip-hop.

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• Young Thug

  Young Thug developed one of the most distinctive and unconventional vocal deliveries in hip-hop, incorporating unusual pitch shifts, ad-libs, and genre-blurring melodic singing that significantly expanded what rap vocal delivery could sound like, influencing a broad subsequent generation of melodically inclined trap artists. His mentorship and direct influence on younger Atlanta artists, including his early championing of Migos and Lil Baby, established Young Thug as a significant behind-the-scenes talent developer within Atlanta's trap music scene beyond his own recording career. Young Thug's 2023 arrest and lengthy racketeering trial, in which Georgia prosecutors argued his record label constituted a criminal street gang, became one of the most closely watched and legally significant cases involving a mainstream hip-hop artist, raising broader questions about using rap lyrics as criminal evidence. His combination of genuinely boundary-pushing vocal innovation and his significant influence developing subsequent Atlanta trap artists has made Young Thug one of the most structurally influential and stylistically unconventional figures in modern hip-hop, even as his legal troubles have significantly complicated his recent public standing.

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• Gucci Mane

  Gucci Mane is widely credited alongside a small handful of other Atlanta artists as a foundational figure in trap music's development, and his extensive mixtape output throughout the 2000s and 2010s directly mentored and influenced numerous younger Atlanta artists who went on to major mainstream success. His repeated incarcerations throughout his career, including a significant prison stint from 2014 to 2016, became a defining feature of his public narrative, and Gucci Mane's dramatic physical transformation and increased recording output following his 2016 release drew significant media attention as a notable career comeback. Gucci Mane's mentorship of younger artists including Migos, Young Thug, and numerous others through both direct collaboration and stylistic influence has made him one of the most significant behind-the-scenes talent developers in modern trap music's history. His combination of genuinely foundational influence on trap music's early development and his significant direct mentorship of the genre's subsequent dominant generation of artists has made Gucci Mane one of the most historically important figures in trap's evolution into hip-hop's dominant contemporary subgenre.

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• Lil Wayne

  Lil Wayne released an extraordinary volume of mixtapes throughout the mid-2000s, a period during which he was widely proclaimed "the best rapper alive" by both critics and fellow artists, reflecting his prolific output and rapid technical development during that specific commercial and creative peak. His 2008 album Tha Carter III sold more than a million copies in its first week, becoming one of the best-selling hip-hop albums of the decade, and Wayne's distinctive, rapid-fire wordplay-heavy delivery significantly influenced the subsequent generation of mainstream rappers who cite him as a foundational influence. Wayne's Young Money Entertainment label discovered and developed Drake and Nicki Minaj, two of the most commercially significant hip-hop artists of the following decade, giving Wayne substantial behind-the-scenes influence on the genre's subsequent commercial direction beyond his own recording career. His combination of a genuinely dominant mid-2000s creative peak, his substantial commercial success, and his direct mentorship of Drake and Nicki Minaj has made Lil Wayne one of the most influential bridge figures connecting 2000s hip-hop to the genre's subsequent stylistic and commercial development.

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More in Music

• Naftule's Dream

  Naftule's Dream grew out of the Shirim Klezmer Orchestra, a Boston-area group that had already been playing traditional klezmer for 14 years before Newton, Massachusetts-born clarinetist Glenn Dickson and accordionist-songwriter Michael McLaughlin spun off a more adventurous, improvisation-focused outlet from within it. The band released two records on their own, "Search for the Golden Dreydl" in 1997 and "Smash, Clap" in 1998, before going on to record three further albums for composer John Zorn's Tzadik label under its Radical Jewish Culture series, a significant marker of downtown-avant-garde credibility. The Boston Globe praised the group for fusing "klezmer music, Phish-like improvisation, and radical Yiddish poetry," a description that captured how directly the band pushed past traditional acoustic klezmer instrumentation and arrangement. Their combination of their roots in a 14-year-old traditional klezmer orchestra and their three albums on John Zorn's boundary-pushing Tzadik label has made Naftule's Dream one of the most musically adventurous bands in the klezmer revival movement.

• Brave Old World

  Brave Old World formed in 1989 with members drawn from California, Chicago, New York, and Berlin, an unusually international lineup for a klezmer band, originally featuring clarinetist Joel Rubin, drummer Ben Bazyler, multi-instrumentalist Stu Brotman (a former member of 1960s rock band Kaleidoscope and a sideman for Canned Heat), keyboardist Alan Bern, and violinist Michael Alpert. Rubin was later replaced by Kurt Bjorling, musical director of the Chicago Klezmer Ensemble since 1984, bringing another deeply credentialed klezmer specialist into the lineup. The Washington Post called Brave Old World "the revival's first supergroup," noting that "every player is a virtuoso," and the band won first prize at the 1992 International Klezmer Festival in Safed, Israel, a significant early validation from within the genre's own community. Their combination of their genuinely international, virtuoso-level lineup and their 1992 Safed festival win has made Brave Old World one of the most artistically respected bands in the klezmer revival.

• Kapelye

  Kapelye was assembled in 1979 when ethnomusicologist Henry Sapoznik organized a group of musicians to perform at a klezmer lecture at Temple Beth-El in Providence, Rhode Island; the November 18, 1979 debut went well enough that the musicians agreed on the spot to keep performing together as a full-time band. The group took its name from the Yiddish word for "a band" and began actively researching and collecting turn-of-the-century klezmer recordings, drawing several members, including fiddler and vocalist Michael Alpert, from the overlapping Balkan music community. Their 1981 debut album, "Future & Past," mixed traditional Yiddish folk ballads with labor and political anthems and songs pulled directly from Yiddish theater, and the band followed it with "Levine & His Flying Machine" in 1985 and "Chicken" in 1987, before "Old-Time Jewish American Radio" became their most successful release. Their combination of Sapoznik's foundational archival research and their genre-launching 1981 debut album has made Kapelye one of the most historically significant bands in klezmer's modern revival movement.

• Andy Statman

  Andy Statman, born in New York City in 1950, started on banjo and guitar at 12 before switching to mandolin, which he studied briefly under lifelong friend David Grisman, and by 1970 he was playing in the experimental bluegrass group Country Cooking, followed by stints with David Bromberg's band. In 1975, Statman sought out klezmer clarinet legend Dave Tarras and became his protégé; Tarras wrote melodies specifically for him and eventually bequeathed Statman four of his own clarinets, deliberately passing the older master's living klezmer lineage directly to him. His late-1970s album "Jewish Klezmer Music" became a touchstone recording for that decade's klezmer revival, released alongside his mandolin-focused "Flatbush Waltz," and the National Endowment for the Arts later named him a National Heritage Fellow, the nation's highest honor in the traditional arts. His combination of his direct mentorship under Dave Tarras and his rare parallel mastery of klezmer clarinet and bluegrass mandolin has made Statman one of the most historically important figures in klezmer's modern revival.

• Giora Feidman

  Giora Feidman was born in 1936 in Buenos Aires to a family of klezmer musicians spanning his father, grandfather, and great-grandfather, and by 18 he was already leading clarinetist of the orchestra at Argentina's Teatro Colón before joining the Israel Philharmonic Orchestra in 1957 on the recommendation of conductor Paul Kletzki. He played with the Israel Philharmonic until 1974, then launched a solo career and was crowned "the King of Klezmer" in New York already in the 1970s, well before klezmer's broader American revival movement took hold in subsequent decades. In the early 1990s, Steven Spielberg invited Feidman to record alongside violinist Itzhak Perlman on the score for "Schindler's List," and Feidman's solo clarinet became a defining voice on that soundtrack, which went on to win the Academy Award. His combination of a multi-generational klezmer family lineage and his solo clarinet performance on the Oscar-winning "Schindler's List" score has made Feidman one of the most significant ambassadors for klezmer music worldwide.