On Tuesday, November 19th, there was a release party for The Netflix show “Rhythm & Flow,” which airs on November 20th. With Ludacris, Latto, and DJ Khalid as the judges for the season.
At the release party, there was a DJ battle, a performance from Latto, and a four-man-elimination tournament with some battle rappers you may be familiar with from The Ultimate Rap League (URL). The URL is the premier platform for battle rap, and it continues to expand its influence beyond traditional stages with a feature on the second season of Netflix’s hip-hop competition series, Rhythm + Flow. If you recall, Smack White made a hosting appearance in one of the episodes of the show’s first season during an intergender battle.
Rhythm + Flow is a groundbreaking series designed to uncover the next wave of hip-hop talent. Featuring star judges like Cardi B, T.I., and Chance the Rapper in its debut season, the show offers a platform for rappers to demonstrate their skills in various formats, from freestyle battles and beat battles to studio-ready performances. It highlights the genre’s multifaceted nature, bridging the gap between mainstream listeners and the gritty underground talent. As battle rap is a part of the show’s cornerstone, the show acknowledges the art form’s importance in the broader view of the culture. In Season 2 you can find Smack White hosting again with Eminem, Latto & Royce Da 5’9 as judges. If battling is a part of some of the show’s competitions, It’s only fitting the show includes the godfather of battle rap! But they didn’t just bring Smack on board; they brought some of his hitters with him.
Season 2 features an organized four-man tournament with some of URL’s talented battlers like New Jerzey Twork, Eaze, J2, and Kapo Bravado. Designed as a one-round battle with 90-second rounds, the tournament emphasized rapid-fire delivery and concise creativity—starkly contrasting the intricate, multi-round hardcore battles fans and degenerates are accustomed to. This format tested the battlers’ adaptability and their skills to provide a digestible entry point for Rhythm + Flow’s diverse audience and Netflix.
Don’t feel like work when it’s with family @urltv x Netflix Rhythm & flow 🤘🏽 #youcantcopyrespect pic.twitter.com/GcQ3BWrziR
— NUNU url princess (@THENUFILEZ_show) November 20, 2024
Tournament Spoilers
The tournament began with New Jerzey Twork facing Kapo Bravado. While Twork brought his signature intensity, he faced challenges adapting to the format. The crowd wasn’t rocking with him after a slight stumble, allowing Kapo to capitalize and secure his spot in the finals. On the other side of the bracket, Eaze delivered a solid performance, but J2’s performance was by far the runaway showing of the night. He had the right formula for quick rebuttals. He set up his punchlines to hit within two bars and made culturally resonant references that could easily register with an unfamiliar with traditional battle rap crowd. And boy, was it effective.
The finals saw Kapo and J2 on the stage. J2, however, emerged victorious with a commanding performance. J2 damn near turned into DNA with the way he wrote for this format, and it was effective. DNA has been in several competitions that revolve around new and casual mainstream audiences. And in these moments, sometimes you have to make your bars quick, digestible, and effective. Microwave style instead of slow cooking. J2 adds another milestone to his impressive career-high year.
I know sometimes fans express concerns about how corporate platforms like Netflix, BET, and other entities get involved with the culture. They provide a special level of visibility and a new audience. Still, the trade-off is the fear that it may dilute battle rap—shortening battles, censoring content, and catering to unfamiliar audiences, sometimes limiting the battlers from their free speech, or fans feel it takes away the rawness.
I have a different perspective on these formats; viewing these moments as opportunities for growth is essential. Adapting to new formats and reaching casual audiences is a challenge, but it’s also a chance for battle rappers to refine their artistry. Writing for a broader crowd without sacrificing authenticity is a skill that separates good performers from great ones. It also shows who knows how to cater to their audience. Yeah, I know; sometimes, the type of bars we hear on these platforms feel like the battler is pandering or delivering simplistic lines that would make a hardcore battle rap fan roll their eyes. But it’s less about the bars being cheesy and more about adjusting your writing style to be strategic for the room.
I think we get caught up in these types of platforms and think, “Battle rap is being watered down, or battle rap is becoming corporate.” And I would challenge some fans to dig in the crates and remember the history of shorter-length, televised-style battles. Platforms like Fight Klub were televised on MTV, the infamous Blaze Battles aired in the 2000s on television, and one of the handfuls of crowning accolades available during that era was being a B.E.T Freestyle Friday Champion. Battle rap can be beautiful because of all the different formats available to us between 2on2s battles, beat battles, small room battles, quiet room battles, big stage battles, virtual battles, and the list goes on. I don’t see the televised version of the battle culture as a separate product, but rather, it should be embraced as a valuable part of the battle rap ecosystem. Different formats, including televised products, contribute to the culture’s growth and help shine a broader spotlight on its artistry and impact.
Moreover, these collaborations symbolize the culture’s evolution, proving that battle rap’s competitive genre deserves recognition on global stages. Once again, URL connects with big brands to increase the culture’s visibility.
