Messiah Is Poised for a Future in Pop After a Hit "Bodak Yellow" Remix

Trap music dominates in rap right now, regardless of language, and each month Cultura explores the Latin side of hip-hop's hottest sound.

In the four-decade long history of hip-hop, few places carry the kind of clout that Harlem does. Big L, Kurtis Blow, Cam’Ron, and Mase and comprise a mere handful of the rap artists representing this storied locale while advancing the genre. In recent years, the ASAP Mob, Dave East, and Smoke DZA, among others, have kept the uptown tradition going, even as musical revolutions from regions like Atlanta and Chicago threatened to dwarf New York’s contemporary role in rap.

Still, one of the neighborhood’s less heralded hip-hop heritages is its Latin one. Real heads might recognize the name Bodega Bamz, perhaps from the Spanish Harlemite’s work with ASAP and Flatbush Zombies. But far fewer had likely heard of Messiah El Artista before last year, when now-ubiquitous Bronx badass Cardi B tapped him for the official Latin remix of her chart-topping smash “Bodak Yellow.” His relatively low profile in hip-hop seems an especially egregious oversight given that the Hamilton Heights native logged his first Billboard hit close to a decade ago as part of a duo with fellow lyricist Tali.

For years, Messiah made bilingual hip-hop, well before it became part of a viable formula for a single’s mainstream chart success. Obviously he wasn’t the first from the city to cross over, as anyone familiar with N.O.R.E.’s “Oye Mi Canto” can confirm. An early adopter of the so-called Spanish remix, Messiah was savvy enough a few years back to rework tracks by DJ Self, Future, and Bobby Shmurda into his own Spanglish takes, often in tandem with Power 105.1’s DJ Flipstar, a New York Dominican like himself. Between these and original tracks, he rightfully earned a reputation as a Latin trap pioneer, earning cosigns from the likes of 50 Cent and Funkmaster Flex while collaborating with reggaetoneros.

No matter what language he happens to be rapping in, Messiah’s appeal has much to do with his flexible New York flows. His delivery vacillates between effortless bars for the boom bap set and energetic ramp-ups for the clubbier trap fare. All the while, Messiah stays credible, his image distinctly uptown.

The Cardi B hook-up on “Bodak Yellow” reflects her keen understanding of Messiah’s talent and experience on the mic, demonstrating her Latin trap bonafides at a time when major labels’ financial concerns risk turning a burgeoning movement into another novelty cash grab a la “Rico Suave.” Her choice of spitter paid respect to what came before her, even as she proved just as bold a rapper in Spanish as in English. Not long after the remix’s release, Latium Entertainment signed a deal with Atlantic which would give Messiah a real shot at reaching the English-language market.

Not unlike Cardi, Messiah has gone a bit broad since the success of “Bodak Yellow.” Back in January, he reaffirmed his trap status with the characteristically boastful “Bien De To’,” a banger in the Coke Boys tradition. Messiah’s latest single comes from a decidedly different place, one closer to the global mainstream. If “Bien De To’” is his “Bartier Cardi,” then “Pum Pum” is his potential “Finesse,” a slickly produced tropical pop number with club appeal and throwback nods.

Debuting today, the “Pum Pum” music video encapsulates Messiah’s ambitions beyond the mixtape circuit. Melding the iconic dembow riddim with an interpolation of El General’s 1988 dancehall single “Tu Pun Pun,” production duo Play-N-Skillz’s music matches the clip’s brightly colored outfits and risque situations. Visual cues, namely a moniker emblazoned onto a woman’s denim posterior, indicate which artist is on deck. Lyrically, Messiah and Mexican-American rapper Kap G keep the contents salacious yet festive. It contains all the elements necessary for a successful crossover, both in the U.S. and elsewhere.

Still, at a time when Latin trap appears ready for its Migos moment, “Pum Pum” feels singular and separate from that. Admittedly, Messiah has spent more time cultivating the sound than just about any other rapper out there. His groundwork set the stage for trap artists like Anuel AA and Bad Bunny to shine in 2018. Clearly, Messiah already put Harlem on the map for Latin trap. The question is whether or not he can do the same for Latin pop.

Bad Bunny - “Dime Si Te Acuerdas”

Known for his features and group cuts, the prolific and chameleonic rapper provides a rare solo single that connects him sonically with the widely appealing pop trap style of Post Malone.

Chris Jeday, Ozuna, Brytiago - “Bipolar”

Three of the most notable figures of 2017’s Latin trap uprising deliver a smooth radio-ready cut that effortlessly blends R&B into trap.

Khea featuring Duki and Cazzu - “Loca (Bad Bunny Remix)”

El Conejo Malo dominates this refreshed re-up of a 2017 single from Argentina’s Khea, weaving in a memorable reference to a Nicky Jam x Daddy Yankee jam from back in the day.

Bryant Myers - “Me Han Hablau De Ti”

The gravel-throated spitter taps Puerto Rican trapaholic Miky Woodz for a balladic number where the two grapple with infidelity from their respective lovers.

Lary Over - “Henny”

Coming off his diverse and diverting full-length El Wason BB, the Carbon Fiber Music emcee grabs Rvssian fresh off the “Krippy Kush” remix for a similarly faded track.

Gary Suarez is a writer in New York. Follow him on Twitter.