Rolling Loud’s decision to cancel this year’s event in NYC highlight’s the city’s struggle to serve live music for its most popular genre.
That dynamic is apparent even beyond New York. In 2019, Rolling Loud Miami was marred by Lil Wayne canceling his set because, as he alleged in a tweet, law enforcement officers on the grounds “made it mandatory that I had to be policed and checked to get on the stadium grounds.” He added,” I do not and will not ever settle for being policed to do my job.
After the first round of removals in 2019, Rolling Loud co-founder Tariq Cherif tweeted, “All the public sees is the letter. Way more happened behind closed doors. If we want [Rolling Loud] to return to NYC, we have no choice but to comply. That’s the position we’re in.” Two things may be true at once. Rolling Loud organizers may feel obligated to comply with local police department directives, but their acquiescence has made them a striking point, fairly or not, of the criminalization of rap.
“I understand they try to do their job, [but they] just got to give artists the chance to see the other side of the light,” he says. Suno, who recently released his album,, says he rarely gets to perform in his native New York City because his shows “always get shut down.” He hasn’t yet gotten to perform at Rolling Loud.
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