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After a small but long feeling hiatus, agent provocateur and musical record breaker Lil Nas X has returned with a tease for a new song. The snippet of the untitled song which he placed on X involves him with long hair and a Pentecostal-style skirt as he sings about the praises of God. He bounces outside of his car on an empty street as he places his hands up while a stomp and clap beat, reminiscent of The Lumineer’s “Ho Hey” plays.
As Montero (Lil Nas X’s real name) enters his new era, many people have come out of the woodwork to not only lambast him over the coals but also musically assault him with diss rap songs. This led him to hilariously respond and keep stoking the fire.
“We are so back,” he said. And we are so back indeed.
Rapper Bryson Gray is the most prominent rapper who made a song where he attacks Lil Nas X by saying that he is mocking Jesus and brings up the “Call me by your name” music video where he twerks on Satan and also the blood shoes controversy where he sold shoes that allegedly contained a drop of human blood inside while also being a parody of Nike shoes with the logo backward.
Our honest opinion. Let Montero be. This honestly feels like a way for many Christian people, and especially many Christian Black men to gatekeep their religion while also being homophobic in tow. In Bryson Gray’s song, he alludes to how many rappers such as Kid Cudi are feminizing themselves to get more clout and cash. That is where the true meaning of all the attacks lies. Some men use their faith in Christ to attack those who are different from them, but when one of God’s people sings, are they not also a part of their chorus?
Montero, keep on doing what you are doing and keep your head up high.
Guillermo Guzman (he/him/they) is a Texas-based nerd who loves talking about video games, autism, and entertainment. Follow him on Instagram: @boofy_booferson and X: @Dimpy_Tenders.
Zipporah Pruitt, (she/her) is an L.A. homegrown journalist, who covers entertainment and culture. Follow her on X and Instagram: @zippzapps.
Edited by Nykeya Woods