Da God of Atlanta

“Why they Saying I’m a Legend in ATL?”

Being a part of Rich Kidz and Bankroll Mafia put Shad Da God in front of anyone in Atlanta who was paying attention. City of God, however, established Shad as a prominent rap star in the city in 2018. Despite his affiliation with the global megastars from Atlanta, Shad has carved out his own lane, developed a signature style, and remained consistent. 

In his latest project, 88 Grams,  Shad linked up with 88Waaves to key into new Atlanta production. Throughout the tape, Shad’s idiosyncratic melodies comfortably coalesce with 88Waaves’ unorthodox drum patterns. At times, Shad croons in a whiny tone that is a stark contrast from his imperious lyrics. Other times, Shad sheds the autotune and delivers assertive flows. His unpredictability keeps the listener engaged from song to song. 

Although the project is only 24 minutes long, Shad boasts a wide range of talents from start to finish. You can tell he takes pride in boasting new lingo and twisting his words in his unique fashion. He highlights this in every verse on this tape, but most notably, on the monologue at the end of Birdman. Shad also shows off his knack for creative bars - he subtly uses wordplay and constantly finds new ways to say old things. Instead of telling his enemies they are going to die, he’ll say “tell that boy Tupac we love all his songs.” Shad’s ability to never settle for the simple metaphor is the standout quality of this tape. 

“She still playing City of God” - Small Faces 

Self-realization is the best way to describe this point in Shad’s career. From questioning his own legacy in Atlanta to acknowledging the long-lasting impact of City of God, it is clear that Shad has earned a sense of his prominence and rank amongst Atlanta artists.  His demeanor on this project seems to be triumphant rather than aspirational as he continues to create soundtracks for Atlanta and claim his status as a staple in the city.