This Juneteenth, I'm finding it hard to celebrate.

It's hard to reflect on freedom in this deafening swell of discord, this crescendo of threats to our most basic human and civil rights. It's hard to stand upright in this storm of unending violence, to find footing on ground riven by such deep and jagged divisions. It's hard, in such darkness, to believe in the dawn of a better day.

But as we observe this holiday, I have to remember that freedom has always been hard fought and hard won. All we can ever do is believe in tomorrow and work to make it better, despite all evidence and against all odds.

At the turn of the 20th century, the sociologist, historian and civil rights activist W.E.B. Du Bois imagined a world that defied the realities of Jim Crow America. In his poem "Credo," he states his belief that all people deserve "the space to stretch their arms and their souls; the right to breathe and the right to vote, the freedom to choose their friends, enjoy the sunshine and ride on the railroads, uncursed by color; thinking, dreaming, working as they will." Sixty years later, the composer Margaret Bonds took inspiration from his words to write a piece of music full of pure passion and soaring beauty, even as violence raged and fires burned across America, as the civil rights movement fought on for the promise of those same freedoms, still unattained.

This Juneteenth, I turn to Du Bois' words and Bonds' music — to all the lessons of our history. I offer you a collection of music that insists on the promise of freedom, however long in coming. Music that counters the shrieking dissonance of conflict with the radiant warmth of its harmonies, that offers us comfort in our sorrow and sustenance in our struggle. Songs that ground us with the steadiness of their rhythms and embrace us in the lines of their melodies. Music that brings us hope and faith and even joy, urging us to stand and fight another day, reminding us that what we are celebrating on this holiday is our freedom to believe, even in the hardest of times.

In 1964, Margaret Bonds wrote this intimate yet infinitely powerful piece of music, inspired by the words of W.E.B. Du Bois' "Credo." The feel of these notes under my fingers reminds me to reflect on the struggles and triumphs that came before us and also urges me to look ahead at the brightness of what can come next. I've put out a call to young people across the United States, asking them to share what they believe in, to create a "Credo" for our present, a design for our future. 

 to their words — confident and deep in conviction — and maybe you, too, will rest easier tonight, knowing that tomorrow is in their hands.

Inspired by the wave of protests against police violence in 2020, this song echoes the protest music of the 1960s in intention and intensity. What grabs me is its juxtaposition of hot fire and cool resolve — the steady, persistent pulse interrupted by moments of percussive explosion. Samora puts it this way: "The first half represents the spirit of uprising and revolt, which requires imagining, courage, strength, organizing, scaffolding and fire. The second half represents our fight against all odds. Overall, I hope the song reflects this beautiful quote by the abolitionist Mariame Kaba: 'Hope is a discipline.' "

The freedom to reimagine your reality, to dream a new life, inspires this first movement of Carlos' string quartet 

, a musical portrait of the Great Migration. It was a defining American journey, the migration of more than six million Black Americans, following a ray of light called hope out of the rural South to the cities of the North, Midwest and West. They left behind everything and everyone they knew, taking only what they could carry. But what they brought with them — their dreams, their courage, their faith in a brighter tomorrow — transformed American life and culture in every possible way.

Leontyne Price: 'I Wish I Knew How It Would Feel to Be Free'

Leontyne Price sings this gospel-infused Civil Rights Movement anthem with the choir of Rust College, a historically Black institution in Mississippi just a few hours down the road from where she grew up. Her journey from segregated Laurel, Miss., to the greatest opera stages of the world was fueled by the freedom of music and art to demolish artificial borders and barriers of all kinds. One of my most treasured possessions is a photo taken with Ms. Price when I was a little girl in the San Francisco Opera Children's Chorus. Her generous embrace wrapped us kids in the warmth of what a life in music could be, and I caught a radiant glimpse of my own future.

Florence Price: 'Juba' (from Symphony No. 3)

This recording by the Philadelphia Orchestra is evidence of our freedom to reclaim and retell our stories. The recent recovery and revival of Florence Price's 

 is a triumphant correction of history. Price's music itself speaks volumes about our freedom to simply be ourselves, true to our authentic voice and vision. In her time and place, a Black woman seeking entry into the community of symphonic composers was knocking at a formidable door. When Price managed to crack that door open (though not a wide as she would have liked), she brought her ancestors with her, in the melodies and rhythms that infuse her symphonic compositions — echoes of Black spirituals and dances like the Juba, brought to this country by enslaved Africans and held as an essential outlet for self-expression and celebration even within the bondage of servitude. Later this summer, I'll play Price's "Piano Concerto" with this same legendary orchestra. That piece, too, uses a Juba dance in its closing movement, and the composer's indomitable spirit will lift us all up in a few moments of transcendent joy.

I'm haunted by this exuberant tribute to the full-throttle freedom of youth — the rush of the wind on your face as you lean out of the car window, the magic of your favorite song, the innocence of a childhood crush. As a parent, as a horrified witness to the unspeakable dangers to our children today, all I want is to preserve for them the freedom to experience the lazy luxury of "those days when our dreams were there for chasin', but time was better wasted," as this song goes. They deserve the freedom to live and laugh and grow without fear into the possibility of all their unknown tomorrows.

At Billy Strayhorn's funeral, his long-time collaborator and brother in music, Duke Ellington, eulogized the four freedoms by which Strayhorn lived his remarkable life: "freedom from hate, unconditionally; freedom from all self-pity (even throughout all the pain and bad news); freedom from fear of possibly doing something that might help another more than it would help himself; and freedom from the kind of pride that could make a man feel he was better than his brother or neighbor." This summer, I'm playing a new piano concerto based on Strayhorn's songs and I am holding his four freedoms close to my heart as I immerse myself in his music, bringing his legacy to life with some of our greatest American orchestras.

Lara Downes with Tonality: 'I Dream A World'

Finally, on this Juneteenth holiday, let's celebrate our ability and our responsibility to "dream a world where all will know sweet freedom's way," as this song reminds us with its text by that most tenacious and audacious of American dreamers, the poet Langston Hughes.

Photographer Eli Reed began his career in 1970. Initially, he was known for his work in El Salvador, Guatemala and other Central American countries. 

The renowned photographer spent over 20 years documenting the African American experience; much of it as the first full time Black photographer within the Magnum Photo Agency. His book 

 covered the 1970s until the end of the 1990s and includes the Crown Heights riots and the Million Man March.  

Reed, a 1982 Nieman Fellow at Harvard University, also photographed the effects of poverty on American children for the film 

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Lara Downes

This Juneteenth, pianist Lara Downes remembers the freedom that has been hard fought and hard won.


Listen to the Story

© Eli Reed/Magnum Photos

Eli Reed/© Eli Reed/Magnum Photos

Songs to believe in: A Juneteenth playlist

Juneteenth marks the day when, a month after the American Civil War officially ended, Union soldiers arrived in Galveston, Texas, to enforce the Emancipation Proclamation. It has since grown into a national celebration of emancipation and an annual homage to Black history, community and culture. 

Learn more about the 1865 origin story and significance of Juneteenth 

Here is a guide to Juneteenth weekend in the Twin Cities: 

Gateway to Juneteenth Live on Location Radio Broadcast

The Morning Show with Freddie and Chantel SinGs will be a live radio show featuring musicians, live DJs, light refreshments, various Juneteenth organizations and a live audience.

, YMCA of the North, 1711 W. Broadway Ave., Minneapolis

Lessons Throughout History With Nothando Zulu 

Local storyteller Nothando Zulu takes to Zoom at 6 p.m. to speak on Juneteenth, Reconstruction, and the Nadir, all the while weaving these histories into current issues and victories. 

Juneteenth Story Strolls (on display all weekend)

Three Minneapolis parks have lined trails with stories to read page-by-page as you stroll along. Feel the sweet summer breeze and reflect on 

Harrison Park hosts an outdoor party, with music to dance to, food to eat and games to partake in from 5:30 - 7:30 p.m. 

This bash in Boyd Park features all-day entertainment from a lineup of musicians, dancers, DJs, storytellers and poets, performing from 3 - 7 p.m. Food trucks and St. Paul’s Bookmobile Library are also rolling in for the event. 

At noon, a parade of dance, music and theatrical acts arrives at Bethune Park to join food trucks and vendors for an outdoor celebration happening until 6 p.m. The stage features a variety of performances throughout the day, including dance, drum and historical reenactments. 

, Parade starts at 1250 West Broadway Ave., ends at 1304 10th Ave. N, Minneapolis

Northside Juneteenth Community Celebration at Sanctuary Covenant Church 

This annual Northside celebration of community, creativity and history transforms the front lawn of Sanctuary Covenant Church into a bustling fairground from 11 a.m. - 3 p.m. There’s the Kid’s Zone with face painting, a health fair, a few group fitness classes and a variety of vendors to mingle with. 

Midtown Global Market’s celebration promises to be a lively one, with free kids crafts and back-to-back performances from storytellers, dancers and drummers. Creative Innovators, a coalition of young entrepreneurs, are also tabling the event. 

Described quite simply as “a good ole time”, the Sun Ray Library will offer free food, games, crafts and photo opps throughout the afternoon. 

The University’s inaugural Juneteenth commemoration starts with speeches at Willard Park, before marching down Penn Avenue toward the 

Urban Research & Outreach-Engagement Center

. There, a big block party awaits and runs until 6 p.m. with scheduled speakers and performers of all sorts of disciplines. In the downtime, enjoy roller skating, free food and haircuts, collaborative mural making and more. 

Brooklyn-based AFROPUNK makes its Midwest debut over Juneteenth weekend, culminating in a riverside music festival in Northeast on Sunday. Free events and panel discussions unfold across the city on June 18, including AFROPUNK’s signature Solution Sessions, hosted at The Get Down Coffee Company in North Minneapolis. 

This massive celebration sprawls across sections of West Broadway Avenue, from Bryant to Emerson Avenues North, from 8 a.m. to 6 p.m. The party features good fresh food, a Father’s Day Rally, a kids carnival, giveaways, and a whole lot more to keep you busy. Dozens of Black-owned businesses also take part in this full-day festival, in part designed to facilitate community discussions around solutions to systemic socio-economic issues facing Black families today. 

A mix of 16 local and national musicians — including Ari Lennox, Noname, and Miloe — put on a full-day festival in northeast Minneapolis, with food trucks, art galleries, film screenings, and more on-site. 

Minneapolis’ premier jazz club has assembled a stacked lineup for the evening of Juneteenth. The talented and dynamic Ginger Commodore co-headlines the show with esteemed actor, vocalist and community organizer T. Mychael Rambo. They are joined by a slew of other jazz and soul-inspired acts including Geoff Jones, Charmin Michelle and Dennis Spears. 

Soul of the Southside Juneteenth Festival

A day-long party hosted by iLLism features music, poetry, speeches, a marketplace featuring Black-owned businesses, live art by Sean Garrison, and food vendors. The events are spread across the Hook and Ladder Theater and Under the Canopy space. Performers include Blackfish Movement, iLLism, Basement Gang & Supa Juke, Kashimana, Kokou Kah, and more. 

Long before it became a federal holiday in 2021, Juneteenth has been an important day of remembrance around the country. There's no shortage of Twin Cities festivities this year.


Juneteenth celebrations in the Twin Cities

Nicole Neri for MPR News

Afropunk

A guide to Juneteenth celebrations in the Twin Cities

When singer-songwriter Lizzo's new single, "Grrrls," sparked a heated online discussion over the weekend about ableist language, Black disabled activist Vilissa Thompson noticed that the conversations were dominated by certain people within the disability community.

White disabled people in the U.S. and the U.K. were calling out the singer for using the word "spaz," which many consider an ableist slur. Buried among these critiques, however, was the perspective of Black disabled people, who raised points about the need for cultural nuance and an intersectional lens to the situation.

"The erasure of Black disabled people, when it comes to a Black entertainer, has been very prominent throughout this whole thing," Thompson, a licensed master social worker, told NPR.

Language has history, and it holds different weight to different communities

The term "spaz" originates from the term "spastic," which has historically been used to describe people with spastic paralysis or cerebral palsy. Often used in a derogatory way to describe people with disabilities, "spaz" or "spaz out" has also been used to refer to someone losing physical control or simply acting "weird" or "uncool."

In online conversations, white disabled people in the U.S. and the U.K were speaking about their experiences with the word. Meanwhile, Black people in the U.S. and the U.K. pointed out how the word, which some say is

a part of African American Vernacular English, is used differently by Black people within their countries. Thompson wished there were an amplification of Black disabled people who understand the nuances of those who use the word and those who are reclaiming it.

She pointed out that language evolves and that if the history of the word is offensive or has been used to oppress a particular group, it's on each person to unlearn it.

"The onus is on us to not just unlearn but also update and improve the way that we communicate with each other, so that our words are intentionally used, so that they don't cause unintentional harm," Thompson said.

Thompson believes that the way people go about critiquing others is very important. In reading the discussions online, she said she noticed they perpetuated anti-Blackness and misogynoir, or misogyny directed at Black women.

She noted that rather than fostering an open dialogue about ableist language and engaging in a conversation with Lizzo about it, the critiques piled on and missed the mark.

"I was shocked but not surprised by the way that white disabled people, especially those who claim to be in solidarity with Black disabled people, engaged in the conversation. You are not in solidarity with us if your behavior during this time in addressing Lizzo can be read as problematic [and] offensive," Thompson said.

Holding people accountable is important but so is recognizing the racial dynamics at play

Criticism is much harsher for Black people with high profiles, particularly if they are not disabled and stumble when it comes to disability and language, Thompson added. For example, when white musicians use ableist language in their songs, they may receive some backlash but not the same visceral reaction that Black people do, Thompson said.

"I'm always particular about how white people and non-Black people of color engage with Black women who look a certain way. [Lizzo is] unintentionally a polarizing figure ... because she has the audacity to be comfortable in her skin as a fat Black woman. If she does something that people don't like, the pile-ons feel exacerbated, and at times unnecessarily, when it comes to her," she said.

Lizzo released a statement on Monday acknowledging the "harmful word" in her song and announcing a rerecorded version of the song without the slur in it. "I never want to promote derogatory language. As a fat black woman in America, I've had many hurtful words used against me so I overstand the power words can have (whether intentionally or in my case, unintentionally)," she wrote in her statement.

Shortly after the post and the song's rerelease, disabled people praised Lizzo for being so receptive and for responding well to the community's feedback.

Thompson noted, however, that she was not surprised that Lizzo responded the way that she did. Having done work in Black progressive spaces, Thompson has seen Black people who are not versed in disability but who actively work to do better. They know the importance of understanding when they've messed up and being inclusive to everybody, she said.


"Grace and room for correction are typically not given [to Black people]. The double standard of inconsistent reactions is profound. They don't trust Black people to do the right thing," she said.


Shruti Rajkumar

Lizzo rerecorded a lyric in her new song "Grrrls" after disabled fans called out her use of a word that's considered an ableist slur.


Noam Galai/Getty Images for YouTube

Noam Galai/Getty Images for Youtube

Lizzo rerecords 'Grrrls' following criticism over ableist lyric

On Thursday evening, Syd, lead singer of the ill R&B group The Internet, performed at Varsity Theater as part of her Broken Hearts Club tour. It was my first time at Varsity (don’t judge me), and the fans lined up to see Syd perform hits from her latest album, as well as older bops from The Internet.

Roughly two hours after doors opened, Syd arrived on stage with a giant smile on her face and yelled, “MINNESOTA!!” As she stepped towards the front of the stage she was accompanied by red lights that swiftly turned yellow as she began to sing.

Syd donned a beige graphic tee with baggy white cargo pants, black kicks, glistening necklace, with a black cap on top of her growing afro. The confidence that she oozed whilst barely moving was noticeable, and the crowd erupted in cheers and applause.

As the crowd showered her with love, two bottle women walked across the stage with solo cups and bottles of alcohol, pouring a glass for Syd and her bass and keyboard player.

“Minneapolis, let’s go!!! I want to thank y’all for being here tonight,” she said. “I’ve started this tradition for a while, where I like to start every show with a toast. Toast to you, Minneapolis, it’s good to be back. Happy to see all your faces. I don’t know about you all, I want to have a good time tonight. It’s been a minute, but we made it though. We back outside. This is special affair.”

She took a sip of the drink in her Solo cup and her bassist started plucking some strings and instantly the crowd lost control as “Special Affair/Curse” by The Internet was about to play. Syd barely had to sing into her microphone as the crowd was already singing to the song, all while gyrating and recording the performance on their phones.

When she finished, Syd shared with us that 

 album was inspired by her actual heartbreak. “It’s based on a true story,” she said. “We can laugh and scream about it now…it was a real relationship that ended in a lot of pain. That’s life, I learned a lot.”

As she said this, someone from the crowd screams out, “F**k them!” To which Syd replied with a smile and a comforting gaze, “It’s okay….I used to feel that way, but I’m a Taurus.” The crowd lost it, and as they do, Syd continued the dialogue with them about horoscopes and heartbreak.

“Make some noise if you’re a Taurus…I don’t know how many of you have had your heart broken before, but like shattered? Oh you’re a Cancer? Well sh*t, you understand. I’m a simp too. But no, the relationship started off great — imma start at the good part.”

As soon as she finished her the sentence, the upbeat tempo of “Tie the Knot” off the new project played and Syd started singing, “I’ve been on the west side, chillin though a menace while the rent's high…”

Syd combed through other singles off the album, such as “Out Loud,” “Cybah” along with fan favorites from her discography, including arguably her and Kaytranada’s biggest hit, “You’re the One,” which has over 115 million streams on Spotify.

Through it all, we learned that Syd truly is a “simp,” or rather, a hopeless romantic that enjoys falling in love, while enjoying the occasional steamy flings, like the one she describes in “Fast Car,” which she also sang.

“I wrote this song thinking about the scenario. I usually start blabbing, but in this case I was listening to an instrumental. I was seeing myself in my hometown, sunny day. It was me and some fine ass sum, and we were in a very fast car,” Syd said.

“We were driving really slow. I’m not a speed racer for real, but we decided to cruise down the coast in this really fast car. It’s probably a Ferrari F40, it’s what I’m going for. I collect trucks, but if we talking fast cars it’s that F40. It was stopping at a red light and we are making out and the light turns green and we don’t see. Next thing we know is people are honking at this Ferrari F40, with these gay b*****s making out.”

Before she played the song, she asked the crowd to put themselves in that scenario and see if the image she drew up matched the audio. I couldn’t quite see it — it might've been too late for me — but I loved that Syd talked about her writing process while making songs.

All in all, my biggest impression from last night is that Syd is a masterful storyteller that is at her best stringing together oldies with newbies, while sharing stories, bonding with the crowd and allowing them to talk back to her. All while, dancing and smiling the night away.

Syd simply oozes cool — always in rhythm, never off-key, always in control of the moment. Like a 5.0 uber driver, as a passenger (audience member), you never feel a ding, tight curve, the switching of gears, when she’s in control. You’re always at ease and right where you need to be.

“In all seriousness, I’m grateful for you all,” Syd said. “It’s been a weird few years. Not all of us artists were able to just pick up and go outside like this. I’m grateful for you guys to allow me to tour and to do this… I wasn’t sure if I wanted to keep doing this, but not being able to do this, made me want to do it. I need this. I need you. Thank you, guys.”

This was her cue into “Smile More” off her 2017 album, 

. As her soft voice rang through Varsity Theater, it was at this moment that I noticed the crowd truly becoming prisoners of the moment — curious where Syd would go next with her story and performance.

Beyond being one of the best vocalists in the game — trust me, live she’s even better — Syd is simply a smoother operator and a mac. For almost two hours, she serenaded us with slow jams, ballads and took requests from the crowd. We even had some bangers sprinkled throughout.

And just like her entrance, Syd sent us home with one final song, one The Internet’s classic, “Girl.” She put her all into that song, like a last embrace and once the beat died down, she magically vanished off stage — real R&B hours at Varsity Theater.

A quick sidebar: earlier in the evening we had an opening act from Destin Conrad, a young artist from Tampa Bay, Florida. He was so good. If you haven’t heard of him yet, check out the song “Bill$” and his recent EP, 

Jeffrey Bissoy-Mattis

The singer’s Broken Hearts Club tour stop lifted up an adoring Minneapolis audience.


Darin Kamnetz for MPR

Syd of The Internet oozes cool at Varsity Theater

 named the best of Broadway in the 2021-22 season. And it was a big night for Jennifer Hudson: At Sunday's Tonys, Hudson became just the 17th person to reach the rarified status of the entertainment industry's version of the grand slam.

A Tony Award is the final piece of the puzzle for Hudson, who reached EGOT status — winning an Emmy, Grammy, Oscar and now, a Tony.

, which was nominated for best musical. In the words of the show's creator Michael R. Jackson, the show is "a musical about a young Black gay man named Usher who works as an usher at a Broadway show who is writing a musical about a young Black gay man named Usher who works as an usher at a Broadway show... who is caught in a self-referential loop of his own self hatred." 

 a Daytime Emmy for her role as executive producer for 

and her debut self-titled studio album, and an Oscar for best supporting actress in 

A full list of Tony Award winners can be 

Rina Torchinsky

A Tony award was the final piece of the puzzle for Hudson, who reached EGOT status — or winning an Emmy, Grammy, Oscar and Tony.


Jordan Strauss/Invision/AP

The Tony Awards 2022: Why Jennifer Hudson has just made history

This year, NPR Music is celebrating Black Music Month with an array of brand new Tiny Desk concerts — both from home and from behind our beloved Desk. Together, these artists represent the past, present and future of Black music. This month of carefully curated shows is a celebration of Black artists expressing themselves in ways we've never seen before, and of the Tiny Desk's unique way of showcasing that talent.

To see her is to appreciate a rare portrait. To watch her dance and hear her sing is to fall, entranced, into an uncanny haze. Both snake and its charmer, British Jamaican multidisciplinary artist 

 is a new-age priestess. Surrounded by flames of offering in the hallowed halls of London's St. Matthias Church, the Grammy-nominated artist and her three-piece supporting band deliver a sermon on the perils of devotion. In her three-song Tiny Desk (home) concert — featuring soul-baring ballads like "home with you" and "cellophane" — she honors the strength of vulnerability; her operatic soprano ignites and delivers catharsis. 

After working as a backup dancer with hopes of transitioning to singing, FKA twigs released two EPs before achieving widespread critical acclaim with her debut studio album, 2014's 

, and its lead single, "Two Weeks." A classically trained singer, FKA twigs makes music that blends deceptively demure vocals with otherworldly trip-hop beats. She perfected this signature avant-garde sound on her sophomore album, 2019's 

, establishing herself as a direct musical descendent of iconic innovators like 

. Fresh off the success of her recent mixtape, 

, FKA Twigs blesses viewers with a performance of her latest song, "killer." 

LaTesha Harris

In the hallowed halls of London's St. Matthias Church, the innovative musician performs a cathartic set, including her new song "killer."


FKA twigs

FKA twigs: Tiny Desk (Home) Concert

Tyler Colon played college basketball. He won an MTV reality show. He's tried podcasting, modeling, and acting. But in 2019, he got serious about pursuing music.

"After singing in my car for, like, six months for an hour and a half every single day, I released 'Stuck In The Middle,'" he said.

He put it up on TikTok under his stage name, Tai Verdes. At the time, he was working at a Verizon store.

"I saw other people like me that had no following end up on the radio," he said. "And when you see that happen multiple times because of one app, it's kind of like 'a-duh', you know what I'm saying? Like, why not?"

Before he knew it, he was fielding calls from presidents of record labels during his lunch break. He got a record deal, made a debut album, and is currently on a 22-city tour across America. "Stuck In The Middle" has been streamed well over 100 million times on Spotify.

TikTok has flipped the script on the music industry, and everyone from artists to analysts and even marketing bosses at the top labels are hustling to catch up.

Verdes thinks he would have made it without TikTok, but he also noticed that his fans on the app were especially engaged. They would go from his TikTok to his Spotify page or his YouTube channel.

"You just made this video, you have this song, you have this melody that they really like. They want to go get that. You just gave them something," he said. 

Verdes isn't the only one to notice this trend, and that TikTok users interact with music differently.

"They're not just listening to music in a sort of, like, lean-back, passive way," says music industry analyst Tatiana Cirisano. "They're more likely to do more lean-forward activities, like creating playlists or listening to full albums on streaming or buying merchandise."

Consumer behavior data compiled by Cirisano

 shows TikTok users are more likely to spend money on music, and be more invested in it. 40% of active TikTok users pay a monthly subscription for music, compared to 25% of the general population. And 17% buy artist merchandise monthly, compared to 9% of the general population. 

What's more, TikTok users often respond to music with their own videos, using features built into the app design. They might lip-sync a song, make up a dance, or try to sing it.

"It's changed music listening from being a one-way relationship where a song comes out and you listen to it on your own, to something that you participate in,"  Cirisano said. "I mean, I don't think that any other social media app has done that to this degree. TikTok is peak UGC in that way."

UGC — short for "user-generated content" — is one of the buzzwords currently going around in the music industry. 

Nina Webb is the head of marketing at Atlantic Records and said when she first started out in the industry, it was a bit simpler. 

"It used to be a puzzle for a 3-year-old. You had video and radio," she said. "And you just needed money and leverage and influence as a label. And now I feel like it's the 1,000 piece gray sky where TikTok is the only piece that will individually move the dial the way it does."

Webb knows exactly what she's talking about. Last August, an Atlantic Records artist named Gayle released a song called "ABCDEFU."

They promoted the song on TikTok a lot, but it didn't really take off until months later when the sign language sub-community of TikTok got a hold of it in the middle of  Gayle's tour.

Note: This TikTok post includes profanity in lyrics and sign language that some might find objectionable.

"She saw the difference from playing at the beginning of the tour, when people, like, somewhat kind of heard this or looked it up, to by the end — I mean, it was like the whole place was going crazy," Webb said. "So November was really the tipping point, and it was 100% the sign language community."

That user-generated content made all the difference for Gayle. Her song sat at No. 1 on the Billboard Global 200 chart for 11 weeks.

These days, there's a cottage industry dedicated to marketing a song or artist on TikTok — paying influencers to promote a song, posting short clips to see what people respond to, trying to get a dance challenge going. With 1 billion monthly active users now on TikTok after a surge in downloads over the pandemic, it's not hard to see why.

Webb says she's certainly tried different strategies, but most times when a song takes off on TikTok, it seems to happen organically.

"I mean, there's a million examples of a lot of very expensive campaigns that had no return," she said. "Like, we can't do it. It has to come from fans or the artist because you're talking to Gen Z. They smell everything out."

Sometimes those fans work in unexpected ways. Celine Dion's "It's All Coming Back To Me Now" came out 25 years ago but earlier this year set one-day streaming records on Spotify and YouTube after lip-syncing the most dramatic part of the song became a viral TikTok trend.

Or take the song "Snowman" by Sia. That came out in 2017, but the TikTok challenge came in 2020, where people posted videos of themselves trying to sing the entire chorus in one breath.

Analyst Tatiana Cirisano says the music industry used to hunt for unknown talent and develop it. But the rise of TikTok has helped to flip that formula.

"I think that we are increasingly in an era where audiences are choosing what they want to hear, and record labels and the rest of the music industry are sort of listening to that," she said.

There are downsides to this too, though. TikTok might create opportunities for musicians, but some artists feel that they have to constantly be "on". Creator burnout is real.

"There's kind of this fear, I think, for people that have built huge followings on TikTok that if they stop at any point, people will just stop following them or they'll forget or they'll move on," Cirisano said.

"At times, people's attention spans are shorter and just the content trend doesn't stop."

Damoyee is a 21-year-old an independent music artist/content creator from Dallas, Texas. She is a composer, producer, singer, songwriter, and she plays a lot of instruments.

She posts a lot of covers and remixes of other songs, usually trending ones. And it's a lot of work. A minute-long TikTok usually takes around six hours to create.

"I know starting out, it took me a little less than a week to get 100 followers," she said. "And I remember, like, seeing one-zero-zero, I freaked out. I thought, hey, I'm famous, you know? I was grateful," Damoyee says with a laugh.

Sometimes a video flops, and sometimes it takes off. But Damoyee says that she generally feels TikTok helps boost musicians like her. That doesn't make it easy.

Damoyee is learning to balance her school work, personal life and the social following she's trying to build.

"It's definitely been a bit of a challenge and it has taken a toll, you know, especially on my mental health," she says. "I've gone, at the latest ... a month without posting because I just needed to breathe."

"I will say for now, the goal is to thrive as an independent artist without looking at any labels at the moment and to still build a platform to the point where I would feel comfortable releasing music alone," she said.


In other words, she hopes to find that perfect balance between cultivating her online following and making music. And when she does, she's hoping she won't have to ask the traditional powers in the industry for recognition. They may call her first.


Mia Venkat

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 Paul Taylor/Getty Images; Zayrha Rodriguez/NPR

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Acacia Evans

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TikTok has changed music — and the industry is hustling to catch up

I first met Mati in 17th Avenue Residence Hall on the campus of the University of Minnesota. Although he was a high school senior at the time, he gallivanted through the halls with the confidence and charisma of a star athlete. That night, and many other nights we've spent together, I laughed harder than I ever had before. Mati has natural charisma and a talent for eliciting emotions and reactions out of people. These days, he's combining that talent with his new pursuit of making music.

Mati's music video for "Back to the Basics" shows him cruising confidently through the streets of his hometown: Minneapolis. He shares the story of finding himself with a sense of zeal that might have you thinking he's a veteran, but at 21 years old, Mati says that he's a newcomer to the music scene. "I started about eight months ago as a hobby, almost like therapy," Mati confessed. "I was going through things just like everybody else and I was trying to find a way to cope with it."

"Back To The Basics" - Mati (OFFICIAL MUSIC VIDEO)

Mati cites rappers like Rod Wave and Lil Durk as influences on his melodic, emotional music; music that he believes people will see themselves in and serve as help through the hardships of life. It took time for Mati to find himself musically, but today he says he's all in. "I started really taking this seriously four months ago," Mati said. "When I say seriously, I mean that I'm not really worried about where this is gonna take me. I realized the happiness it was bringing me to make music. It just became like an addiction almost, wanting to get in the studio all the time."

One of the greatest barriers young artists face is finding a decent recording space that is consistently available. Countless nascent careers have been prematurely terminated due to poor sound quality. How many demo tapes have been thrown away because of staticky, unclear sound that obscures the artist's intention? The "lo-fi" label can only take you so far. A clean, cohesive, professional sound that people want to hear is only possible in the right environment and with the right people. Lucky for Mati, he has that and more in Water Wave.

Water Wave is a local collective that seems to have their hands in everything: a buzzing thrift shop and recording studio in Minneapolis's Como neighborhood, gaming, 

, podcasts, and most significantly, music journalism. Founded in 2018 by Eric Geisthardt, Jr., Kelvin Kuria, and Reese Leraux, Water Wave was always meant to be a platform for new and upcoming Minnesota hip-hop artists.

"The idea behind it was mainly to start with our guys and just have a platform where we're doing videos of them making music, interviews, and party life," Geisthardt said. "Basically, just trying to paint the picture of these artists so that they have an actual image. Then we started reaching out to other artists and interviewing them to get their stories out there and help their brand grow."

One of the first few artists that Water Wave interviewed in 2018 was Weegie, a close friend of Mati's. Mati came with Weegie to his interview and got to know Eric and Kelvin, bonding more throughout the summer at a show at UW River Falls and even more when Eric and Kelvin moved to Minneapolis. Mati credits Water Wave with helping him get his start in music.

"I got to see a lot of music behind the scenes," Mati explained. "I would play around with music every now and then because I had somewhere to record available to me. But it was mainly just for fun...I wasn't very good at the time, but I just kept going. I was there from pretty early on to see these guys grow. They've helped me out a lot in my journey."

The relationship between Water Wave and Mati is symbiotic, with co-founder Kelvin Kuria speaking praise upon Mati's role in the collective. "Mati adds a lot," Kuria affirmed. "Away from the music side, he's been a very strong networking connection. He's still a student at the U and a lot of the people that he's made friends with and done classes with have ended up learning about Water Wave and becoming part of our everyday mission to make things better out here."

A lot of things come to mind when thinking of Minneapolis: lakes, a gigantic spoon holding a cherry that has water spraying out of it for some reason, passive-aggressive behaviors, etc. Hip-hop, however, has not been one of the things closely associated with the city in recent years. The "everyday mission" that Kuria referred to is establish Minneapolis as one of the foremost cities in hip-hop today and to serve as a beacon and resource for Minnesota hip-hop artists.

"We want to put that spotlight on Minneapolis that we don't have," Kuria said. "There's places like Chicago, Atlanta, L.A., New York... Those are all huge staples; places in the music scene that everyone knows... But there are also these places like Tennessee and Detroit, whose rap scenes are going crazy right now. Minneapolis can be that next spotlight. That next new rap scene that everyone really likes. I just feel like there's not really a center, a place that is putting that spotlight right on Minnesota. I feel like we can be that with Water Wave."

Geisthardt further explained the intentions behind Water Wave. "We want to be the hub that people can go to and find other Minneapolis rappers," he said. "They can go to this channel and know we've been interviewing Minnesota rappers for years and have it be a domino effect. This guy goes big and then their next recommended video is this rapper's music video or concert recap. As long as people start doing better, it trickles down and everyone grows together."

Mati and the Water Wave collective are doing the work to create a community for hip-hop artists in Minnesota and a platform that can springboard local artists. Without Water Wave, Mati is sure that he wouldn't have begun his music career. "I don't think I would have started making music if I if I wasn't involved with Water Wave," Mati said. "It's kind of like a family vibe, you know? I just don't see anybody else as far as our generation doing what Water Wave is doing. There are obviously other more established things, like The Current and a couple others that I'm probably forgetting, but as far as the youth, I don't see anybody else doing what Water Wave is doing. I'm definitely proud to be a part of it."

With his melodic and emotional tracks, Mati hopes to connect with people through music and create a memorable experience that connects him to his audience. His most recent release, "Good Riddance," does just that. Pensive chords, reflective lyrics, and a killer sample of "Heaven is a Place on Earth" by Belinda Carlisle make it easy to see where he's coming from.

"Good Riddance" - Mati (OFFICIAL MUSIC VIDEO)

The Water Wave collective aims to serve as a beacon and resource for Minnesota hip-hop artists - like Mati, a rising Minneapolis rapper who's still a student at the University of Minnesota.


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