Hip-hop music is well known for its complex culture. Many songs that have emerged from the genre have contributed to global social conscience, but how will Aotearoa leave its mark?
Since hip-hop emerged in the early 1970s, there have been numerous artists globally who have made an impact with deeper meanings hidden beneath their lyrics, which are often a reflection of larger societal issues.
A hugely influential US rapper who significantly reflected on large societal issues was Tupac.
Tupac often reflected on what was happening in the environment he was surrounded by and took it to a global audience as he rapped about racism, poverty and toxic masculinity.
Record company Universal Music NZ (Umusic) lists 10 examples of Tupac lyrics as "still remaining powerful today."
"Before we find world peace, we gotta find peace and end the war in the streets"
Taken from Tupac's song Ghetto Gospel, umusic said this was an "outcry for ending black poverty" from Tupac.
"Citing systemic racism and the cards that are always dealt to keep giving blacks the same outcomes, 2Pac reinforces the message that world peace cannot be achieved until racial justice and poverty is dealt with," umusic said, adding that the underlying message of the song will "always relate to any era".
Hip-hop continues to push its socially conscious concept today, with some artists even representing counterculture protest ideas in their music.
Australian writer Reshma Madhi has written on Aotearoa's diverse music space and analysed how it exhibits Māori consciousness, and how diversity keeps the genre moving.
Madhi notes socially conscious hip-hop has existed since the genre began.
"In fact, hip-hop in itself has always been about social conscience and authentic storytelling - to speak up against prejudice and injustices and talk about personal struggles and life experiences," she told Newshub.
In the UK, the rap scene is known for revealing the not-so-glamourous realities of growing up in disadvantaged demographics - disadvantaged due to economic issues like poverty, racism, the gang lifestyle and family/home crime issues.
Bugzy Malone is a rapper from the UK who exposes these realities through rapping about his personal experiences growing up in Manchester, Northern England.
"It almost felt like jail saved my life because it pulled me out of the streets when it was getting quite chaotic"
A documentary by LADbible had Bugzy dive deeper into the motivations behind his music, which all stem from personal experiences growing up in a gang lifestyle, experiencing family abuse and his time spent in prison as a young offender.
Madhi added: "Artists like Bugzy Malone and Pozer in the UK, superstars like Kendrick Lamar and J. Cole in the US, and Church & AP in Aotearoa, are current examples and continue what has been done since hip-hop began, or at least went mainstream in the late '70s/early '80s.
"Even mainstream artists more known for other styles, like Megan Thee Stallion, are calling out injustices in songs like 'Shots Fired' or Macklemore's 'Hind's Hall' and using hip-hop to gain notable attention and respect," Madhi pointed out.
In Aotearoa, things are similar, but a bit more unique.
"New Zealand hip-hop has always had a distinct sound, very much influenced by Māori and Pacific sounds and culture. It does take influence from the States but when it comes down to it, has quite a distinct sound, certainly lyrically," Madhi said in her article.
Church & AP are Polynesian Tāmaki Makaurau rap duo Elijah Manu and Albert Purcell.
In an article on Stuff, Manu explored one example of how Aotearoa will leave its unique mark in hip-hop history.
"There aren't many perspectives of Samoan kids that are being put out into the mainstream. It's about trying to give an accurate reflection of what it means to live in Auckland, to look like us, in this part of the world."
Meldownz is an Aotearoa rapper and poet from Avondale, Auckland.
He often explores injustice topics in his music, with common themes of exposing what it was like growing up in West Auckland along with reflecting on indigenous peoples' issues in Aotearoa.
In 'Infinite', Melodownz raps: "F**k a coloniser tryna steal my land." This is provocatively shedding light on Aotearoa's colonisation by the British, which still has a significant impact on Māori today.
Melodownz told Newshub that he thinks his music contributes to counterculture ideas, particularly in a video he uploaded to Instagram where he is sat in Auckland's Britomart train station rapping about Indigenous issues.
"I start feeling so anxious when I hear sirens... this is for all my innocent brothers in prison because of the colour of pigment"
These are lyrics Melodownz rapped whilst sitting at the piano inside the train station, illuminating common indigenous people's issues experienced in Aotearoa.
I spoke with Melodownz and dived into the motivation behind his music.
Newshub: What made you want to start making music that exposes the realities of growing up in a disadvantaged Aotearoa demographic?
Melodownz: "It wasn't a conscious decision to make that type of music, it just so happened that some of the themes in my music are an expression of life experience and environments I've witnessed and been exposed too. But as I've gotten older I feel as an artist of the community it's somewhat of a responsibility to stand up and be a voice for my people while I have the platform to do so. I make the music I feel at the time."
How is Aotearoa hip-hop/rap different to other countries?
"I think it comes down to the microcosms of diversity and culture created here in NZ which you can hear in NZ rap. For example, the Pacific Island community contribute a lot to the NZ hip-hop scene and from this you will hear unique accents, slang and cadences which you won't hear anywhere else. Also with other cultures coming out of NZ, whether it's a European Artist or migrant Middle Eastern artist, there will always be a point of difference based on the fact that they grew up here in Aotearoa."
How is hip-hop different from other music genres that protest through their songs? What makes hip-hop more unique?
"Hip-hop stands out because it originates from minorities, predominantly Black and Latino communities like the Bronx in the '70s, where it's not just about the music but also includes graffiti and breakdancing as forms of expression. When we use hip-hop to talk about social issues, we're telling stories that reflect our lives and experiences. We blend different musical styles and samples to create unique beats that carry deep meanings and histories. And because hip-hop has become a global phenomenon, artists everywhere can use it to address local concerns, making it a versatile tool for sharing perspectives and connecting with audiences worldwide."
Do you see yourself as contributing to hip-hop culture's history?
"I feel as long as my art is authentic to my true being, and my intentions are in a good place, whatever it is I contribute will be set in stone. I also work in the community and run music groups for aspiring creatives and facilitate classes for people with mental illness which I know for a fact has already changed lives and made a massive impact in those communities. So for me, to aspire to inspire, I feel my contribution holds deep mana and meaning."
With its rich cultural tapestry and unique societal narratives, Aotearoa's hip-hop scene is poised to etch a distinctive mark in the genre's global history. Artists like Melodownz are not just creating music; they're crafting anthems of resilience and rebellion, using their platforms to amplify voices that have long been marginalised.
As Melodownz continues to rap about the lingering impacts of colonisation and systemic racism, his lyrics serve as both a mirror to Aotearoa's past and a rallying cry for its future. His words, resonating from the streets of west Auckland to global audiences, reflect a commitment to social justice and cultural pride.
In the evolving landscape of global hip-hop, Aotearoa stands out not just for its lyrical prowess but for its commitment to authenticity and inclusivity.
As artists like Melodownz and Church & AP continue to push boundaries and challenge norms, they redefine what it means to be heard in a world that often overlooks the voices of the marginalised.
