Celebrating 10 Years of Apple Music: Nostalgia, New Drops, and the Culture’s Future

On a recent episode of Rap Life Review, the energy was celebratory but grounded, as the team reflected on Apple Music’s 10-year anniversary. The streaming platform, which launched on June 30, 2015, marked a full decade of transformation—not just in how music is delivered, but how it's curated, discussed, and lived through culture. Hosts Nadeska, Lowkey, and Eddie took time to share personal journeys that mirrored the platform’s rise—from selling cable in a call center to working alongside Dr. Dre, to building their own shows and identities within Apple’s media ecosystem.

The anecdotes weren't just reflective, they were revealing. Eddie spoke about his first gig with Dr. Dre’s The Pharmacy, while Lowkey noted how the platform helped shape his interview game and connect with legends across hip-hop and R&B. What started as a streaming service has evolved into a cultural hub, and Rap Life Review is now a weekly pulse check on the genre’s highs, lows, and transitions. In many ways, Apple’s growth mirrored the hustle of the hosts themselves—starting from scattered studio corners and Zoom calls, and evolving into a global platform with studios in New York, London, Berlin, and beyond.

Soundtracks Making a Comeback

Among the standout segments of the episode was a passionate convo about the return of meaningful film soundtracks—led by the recent release of F1: The Album, which accompanies Apple’s new racing movie. With artists like Don Toliver, Mr. Eazi, were involved, the soundtrack's range nods to a time when music from a film could stand on its own as a full-bodied experience. For Eddie, it recalled the Black Panther soundtrack’s cultural and sonic impact, and even further back, classics like Above the Rim, Boomerang, and Backstage.

The discussion had both nostalgia and insight. The team reminisced about soundtracks that defined eras, like The Show and Waiting to Exhale, while acknowledging that not every recent film gets the music treatment it deserves. Still, the consensus was clear: when done right, soundtracks can feel like albums that breathe with the film’s DNA. Whether it’s the latest Pharrell production or a long-lost gem from the 90s, the hosts agreed—soundtracks are back in the mix, and not just for the throwback crowd.

XXL Freshman Class: A Mirror and a Marker

The 2025 XXL Freshman Class dropped recently, and the Rap Life crew had a lot to say—not just about the names on the cover, but about what the list still means in a fractured musical landscape. Artists like Samra Sin and Ray Vaughn drew praise for their crossover potential and lyrical skill, while names like Ian Jello sparked debate on whether viral hits alone justify a spot on the list. “All you need is a song,” said Eddie at one point. “But has that always been the criteria?”

The group then did a deep dive, comparing the 2025 list to classes from five and ten years ago.

The 2020 roster—with Polo G, Baby Keem, and Jack Harlow—was seen as solid, if turbulent due to personal challenges. The 2015 class, on the other hand, didn’t hold up as well in retrospect, despite hits from Fetty Wap and Tink. And in a plot twist, Eddie reminded everyone that the 2016 class—initially panned for its lackluster freestyles—actually birthed an elite squad: 21 Savage, Lil Uzi Vert, Kodak Black, Anderson .Paak, and more.

Beyond individual artists, the segment touched on bigger questions: Should freestyles still be part of the rollout? Are we seeing enough development behind these rising names? And most importantly, how does this yearly snapshot reflect where rap is—and where it's headed? The answer was layered, but clear: XXL still matters. Maybe not like it did in the Cole-Wiz-Nipsey era, but enough to signal what might stick five years down the line.

Rolling Out Like Legends Again

The most electric segment of the show came when the team shifted gears to talk about the Clipse’s upcoming album, Let the Lord Sort Them Out, dropping July 11. With a rollout full of intention—vinyl, merch, fashion drops, and exclusive previews—the Clipse are showing the younger class how to build anticipation without relying solely on snippets. “Y’all not Beyoncé. Y’all not Drake. I need everybody to do rollouts again,” Nadeska said bluntly, tapping into a sentiment felt by many long-time fans.

Even with just two tracks out—only one officially available on streaming—the buzz around the project is loud. The tracklist boasts features from Kendrick Lamar, Nas, Tyler, The Creator, and Stove God Cooks. Eddie hinted at a possible hidden feature, adding even more mystery to a rollout that’s already been masterclass level. For a duo that hasn’t dropped a full-length in 15 years, the stakes are high—but so is the craftsmanship. And in an era where too many projects arrive overnight with little buildup, the Clipse are bringing back the art of the rollout.

There was also a larger message: Fans want to feel part of the process. It’s not just about hearing the music—it’s about watching the chess moves, seeing the merch drops, the interviews, the behind-the-scenes content. The Clipse are tapping into a hunger for more than a 12 a.m. DSP drop, and it’s working.

What’s Next in Hip-Hop? From Cardi B to The Weeknd

Before wrapping up, the crew looked ahead to the rest of 2025’s most anticipated drops—starting with Cardi B’s Am I the Drama?, officially scheduled for September 19. Coming seven years after her debut, the expectations are sky high. “Very few artists can wait that long between albums and still have this much anticipation,” Nadeska said, echoing fans’ curiosity about what Cardi’s rollout will look like in the streaming era.

Also on the radar: JID’s long-awaited project, with “Bodies on Bodies” already stirring buzz, and a potential Pharrell fashion-meets-music moment with unreleased tracks surfacing during Paris Fashion Week. As for the Weeknd, Eddie recapped the energy at his four-night run at SoFi Stadium—describing it as almost as loud as Taylor Swift’s Eras Tour stop. The Weeknd’s transformation from blog-era mystery to global pop icon was a reminder of just how far artistry can go with the right balance of vision and evolution.

One final note? The rise of Black country fusion. Artists like BigXthaPlug and Shaboozey are blurring genre lines, tapping into cultural roots and country radio money. The team hinted at a future where a Black country artist could land on the XXL cover—and that’s not a reach anymore, it’s a prediction.