Hottest 20 Mixtapes Of 2016

What even is a mixtape these days? Something that can be bought for free? Chance The Rapper asked, “Am I the only n*gga still care about mixtapes,” on a song called “Mixtape” that happened to feature two artists who obviously still care about the medium. Chance’s “mixtape” -- which was only available on streaming platforms -- ended up earning a Grammy nod, the first of its kind to do so. But us rap fans don’t need any reminding of the importance of mixtapes, however they might be defined these days. Where would artists like Future, Young Thug, 2 Chainz, and, yes, Chance, be without them?

Though rappers are figuring out ways to commercialize their mixtapes, they’re still finding that non-album projects can be put out more quickly and with less label intrusion. Oftentimes, mixtapes serve as a more direct representation of an artist’s mindstate at a given time, rather than a conceptual project that’s been labored over for several months or more. Mixtapes are thus hugely responsible for the quickly shifting trends in hip-hop music and culture. 2016 was a fantastic year for mixtapes and were we considering all projects together -- as the Grammys are realizing this might be the inevitable way forward -- then some of these projects would rank nearby Lemonade, The Life of Pablo, and Blonde at the top of the list.

Most of the following 20 tapes are available for streaming and/or downloading. Without further adieu, here are HNHH’s Hottest Mixtapes of the Year.

On the first Wish Me Well, YFN Lucci introduced himself as a trapper who could really sing. With Wish Me Well 2, he's now one of Atlanta's brightest young stars. His hook game will get him far, but his voice is even more of an asset to his storytelling; he singing makes the listener feel where he comes from, and the level of motivation needed to make it out. His flow also lets him explore R&B-leaning subject matter that wouldn't normally belong on a trap tape. The biggest song on here is obviously "Key to the Streets," featuring Quavo, Takeoff, and Trouble. By unlocking his inner musicality, Lucci found that the streets were in need of a man who could sing their pain. 

YFN Lucci - Wish Me Well 2

The best trappers speak to you, meaning there's little separation between the rapping and the thoughts and grievances swirling in their heads. Music becomes the purest form of expression. Opening up Skoobzilla with "TIP Jeezy Boosie," a tribute to three greats, Trouble understands the legacy of the game in which he now makes his living. These guys used music to tell stories that could have only been lived the hard way. It's hard to compare Trouble to his ATL peers, as he really doesn't have a go-to flow. His Zone 6 rasp never softens to jive with the melody. When he starts rapping, though, he has absolutely no trouble in laying down his message.

He goes for broke every time, airing all of his doubts and fears, usually conquering them mid-burst with his inner hustle. One can hear his spirit rubbing off on his collaborators -- such as Young Thug, Quavo, and Fetty Wap -- but the best tracks are the solo ones on which his story takes all of the spotlight ("Ahh Man," "Uncle Nard"). With raw trap production from Nard & B, Zaytoven, and Spiffy Global, Skoobzilla was born in the trenches, and it's been a constant source of motivation all year long. 

Trouble - Skoobzilla

French had a strong year, and Wave Gods was the clear highlight, instead of the botched release of the album-turned-mixtape MC4. Two of the best MC4 songs, "Lockjaw" and "Figure It Out," had already appeared on Wave Gods. Hosted by the incarcerated Max B and dedicated to the late Chinx, the tape cemented the Coke Wave as one of the most important New York movements of the past several years. And French has proven he can carry on the Coke Boys' legacy -- with a respect for New York culture, an acute ear for forward-thinking sonics, and a unique brand of lingo -- on his own, as his two closest affiliates fell victim to circumstances that all too often follow street-bred artists. Thanks to French, there'll be a cresting wave waiting for the Silver Surfer when he comes home, which could be in the near future. 

French Montana - Wave Gods (Hosted By Max B)

Easily Birdman's hottest prospect, Jacquees dropped the second-best Rich Gang tape earlier this year with Mood. Hosted by DJ Spinz (and with ad-lib commentary from Bird throughout), Mood felt like a Southern mixtape, despite it being wholly R&B -- aside from features from Kevin Gates, Young Scooter, and Rich Homie Quan. Jacquees is one of the few guys in the South making this type of slow-burning R&B, and he has a natural flair for it, along with an enchanting singing voice. Much of Mood focuses on sex, but Jacquees deals with the before and after, doesn't obscure gentlemanly romance, and notices charming details that often escape bedroom enthusiasts with narrower one-track minds. The content might be familiar, but the Mood is strikingly rare.  

Jacquees - Mood

SaveMoney's Joey Purp is affiliated with the Chicago scene that is thought of as being especially creative, and therefore, "conscious." Guys like Vic Mensa and Chance The Rapper -- who both guest on iiiDrops -- should easily transcend that label, but Joey Purp shatters it upon first listening, due to the pure aggression and uncompromising honesty of his raps. He's lyrically brilliant but what's most striking is how seamlessly he's able to express his sprawling psyche. Informed by classic Chicago stylings but with a chaotic, off-kilter edge, producers Thelonious Martin, Knox Fortune, and members of The Social Experiment gave Joey a live, analog sound template that properly suits his bold and hedonistic personality. He weaves songs of pain, strife, reflection and a reckless good time into one convincing statement of purpose. 

Kamaiyah's A Good Night in the Ghetto is the epitome of a good time. Though it stands as such because, throughout her life, a good night has been such a rare commodity. With her go-to producer CT Beats and an attitude far beyond her years, the 20-year-old combined her awareness of the classic Bay sound with her affinity for 90s R&B and made a near-perfect summer party record. Providing snapshots of her upbringing as points of contrast to her new sense of optimism, Kamaiyah feels at once lucky and deserving to be here.

"A black queen but I'm damaged," she says of herself, knowing that said damage will live on. She knows how fleeting these moments might be, and that's what makes A Good Night in the Ghetto so special. YG lays down a crucial guest spot, and by inviting her back for his own "Why You Always Hatin," he made it clear that the whole West Cost is behind her. "How does it feel to just live?" she asks herself on the lead single. Such a simple joy is what she's been searching for her whole life. 

Kamaiyah - A Good Night In The Ghetto

DJ Esco supplied a much-needed dose of new bangers from his right-hand man when Future had been quiet since dropping two projects at the start of the year. Of course, Esco has been behind some of Future's most important work, and he deserved to have a stacked mixtape of his own. Project E.T. is a finely curated selection of the type of tracks he would debut at Magic City Monday, as well as veritable smash hits ("Too Much Sauce"), the reunion of Future and Young Thug ("Who"), and one of the Freebandz leader's most poignant street ballads of the year ("Married to the Game"). The tape further cemented his status as The Coolest DJ in the World. 

DJ Esco - Project E.T. (Esco Terrestrial) (Hosted By Future)

With SS3, Young Thug laid his famed "Slime Season" series to rest, and he held a proper funeral to boot. It's amazing that arguably the hottest mixtape series of the past few years was mostly comprised of leaks. With the final entry, Thug shortened the length and upped the quality. It's mostly a showcase of his smooth chemistry with London on da Track -- whom he hasn't worked with SS3 -- and other great productions come from Ricky Racks ("Slime Shit" -- a sign of what's to come from this charismatic crew) and Mike Will Made-It ("With Them" -- the wildest song of the bunch, debuted at Yeezy Season 3).

As hinted at by Jeffery, SS3 may also be one of the last projects on which Thug's rapping -- and not everything else he can do with his vocals -- is the prime focus. As he continues to get more fashionable and more experimental, SS3 will serve as a reminder of where he came from, and how he had to rap his way to the top. If this is the end of the mixtape-era Young Thug, let it be known that he had a legendary run. 

Young Thug - Slime Season 3

The wait for DC4 was so long that it might not have lived up to the hype. Taken as a whole, it didn't quite deliver upon the "comeback" narrative that the rap world was hoping for. For a mixtape, though, there are some incredible moments on here. When Meek hits his stride, there's a purity about his breakneck delivery that can't be matched -- can't even be attempted by anyone who can't relate to what he's seen. He hasn't yet bucked his status as an underdog, though tracks like "Shine" and "Blue Notes" show, once again, he's one of rap's greatest motivators. That's why he'll always have the respect of (most of) his top-tier peers.

"Tony Story 3" shows his penchant for compelling, real-life narratives, and the final track -- featuring a painfully affecting opening verse from the late Lil Snupe -- is evidence that he has been an undeniably positive leader in the world of street rap. The tape has all the ingredients of a potentially great project -- let's hope he figures out the right way to cook them up come album time. 

It's taken him a few years, but Jazz Cartier is quickly on his way to becoming an authoritative leader in Toronto. He's risen without a cosign and without an attempt to delve into what's become known as the Toronto sound. Following up last year's almost-as-good Marauding in Paradise, he and his go-to producer Lantz further honed in on their singular sonic world on Hotel Paranoia. Lantz crafted an overriding late-night trap ambience filled with film-like flourishes, setting the stage for the narration of Cartier, who's able to convey an array of compelling attitudes, from dark humor to brooding menace. His confidence in the many moods he can conjure is outweighed only by his lyrical prowess. He raps his ass off for the entirety of this sonic movie known as Hotel Paranoia. 

Jazz Cartier - Hotel Paranoia

Post Malone - August 26 

August 26 was supposed to be the date of Post Malone's debut album, which ended up touching down last week. Now it's just the title of the pre-album mixtape that may be better than Stoney itself. Made up of 10 immersive club-leaning tracks, with hints of the rock and folk influences that would define Stoney, August 26 proved Post to be more than just the "White Iverson." A well-curated lineup of features comes from 2 Chainz, Lil Yachty, Jaden Smith, Jeremih and more. The tape also arrived soon before Post was controversially left off the Freshman list due to him not being "hip-hop" enough. It may be a 2016 incarnation of the genre, but August 26 is nothing if not hip-hop. 

Post Malone - August 26

Lil Uzi Vert may be limited in his flex-heavy subject matter, or at least sometimes it feels that way. He thrives off typical trap talk, but unlike others in the genre, he's wholly unafraid to be himself. The allure lies in his unrelenting cartoonish energy, unafraid to spazz like an overcaffeinated pre-teen, and always ready to inject the maximum amount of adrenaline into a single ad-lib. He also has a rare penchant for catchy hooks, as simple as they may be, and he can drop such earworms over particularly off-kilter and adventurous instrumentals. Don Cannon, Maaly Raw, and Metro Boomin are among the stellar production cast on Lil Uzi Vert vs. The World, his first tape of the year, released in April. He may have filler lyrics and may be lacking in conceptual variance, but few matched such a high quality output this year (this one was his best, but The Perfect Luv Tape and 1017 vs The World -- with Gucci Mane -- were no slouches). Also, who is continually putting this much energy into each and every song? I don't know where he'll be in 5 years, but right now, it feels like the Lil Uzi party is just getting started. 

Lil Uzi Vert - Lil Uzi Vert Vs. The World

2016 introduced the rap world to arguably the most divisive new face in the game: Lil Yachty. Yup, everybody took notice, particularly old heads who barely understand the "internet rap" world he's a product of. Some saw Yachty's meteoric rise as evidence that hip-hop's barriers to entry have never been lower, but the 19-year-old with bright red, beaded braids never asked to be vetted by the genre. He's the "King of Teens," and they're gonna follow their monarch whether hip-hop does or not. Supporters and detractors alike can agree that Lil Boat, his coming-out project, sounded like nothing else. Led by the ubiquitous hits "One Night" and "Minnesota," the project is primarily comprised of Yachty singing melodies out of key and off-beat -- and absolutely soaked in auto-tune -- over the Fisher Price trap of Burberry Perry, who has since been forced to adopt the name TheGoodPerry.

Lil Boat may seem childish and not serious enough for such a traditionally macho genre, but it's in his quest to not be so self-serious that Yachty comes across as refreshingly earnest. He tries to enjoy the splendor of making quick money while recognizing that he's still a teenager, not quite ready to let go of his childlike wonder about the world. Yachty's been bullied throughout his adolescence, and with his unimagined success, he's now facing legions of new oppressors -- many old enough to be his father. In his voice, not fully developed, lies a confidence that has stood firm in the face of ridicule and hatred. That shines through even with all the auto-tune. That kind of self-belief is rare, especially in a genre where vulnerability can be equated to weakness. So when assessing his rise, it's not just that the kids want a grownup, fashionable version of Nickelodeon. There's real inspiration at play. 

Listen to Lil Boat on Apple Music. 

With the Metro Boomin-produced "Bad & Boujee," currently their biggest-ever hit, the Migos are finally getting their deserved respect -- and not just for their capacity for easy club hits, but for their carefully executed style and chemistry. There's hardly been a more lyrical song in the Hot 100 all year. After many knockout guest features, Quavo is poised to become a superstar, and Offset is beginning to emerge as one of the most reliable rappers in Atlanta. But the boys were killing it before all of this; Quavo and Takeoff held their own while Offset was away and delivered a solid debut album. And January's YRN 2, the first project with all three rappers reunited, finds the group clicking on all cylinders. With production from Zay, Murda Beatz, Dun Deal, and Will A Fool, every track is a winner. 

I cannot wait for Culture, and I'm hoping that -- as the members continue to get pulled in the solo direction -- that Migos can deliver a project boasting the same level of blood-related chemistry as heard on YRN 2. Quavo brings the hooks and melodies, Offset the trap-bred toughness, and Takeoff the blistering speed. Of course, it's more complicated than that; it always is with this underrated threesome. Each man recognizes his own strengths and weaknesses, and never acting selfishly, is always looking out for the good of the song -- the purity of the recipe. More than the snappy punchlines or hilarious ad-libs, the most compelling takeaway from listening to the group is a real sense of shared Culture, straight from the Nawfside bando. Long live the Migos. 

Migos - YRN 2 (Young Rich Ni$$a$ 2)

Almost 40, 2 Chainz displayed more inspired energy this year than just about every newcomer in his city. His mindset was right back in the trap, even though he was only trapping Christmas sweaters (and making more money than ever). He released four projects this year, three mixtapes and a joint album with Lil Wayne. Of the tapes, Daniel Son; Necklace Don was the strongest. His swagger is wholly inimitable, making veteran boasts with a fiery spontaneity that seems too sharp and reckless for someone his age. The faster he goes, the better he gets. The more outlandish his metaphors, the more convincing the delivery. He challenges himself on every track, and with no fear, he almost always eschews his best.

The project is his way of setting himself back up in the trap, but with tracks like “Ghetto” and “Ounces Back,” he makes it clear that such a place deserves a real lyricist to tell its story. With two features, one of them being Drake -- whose truest statement ends up being “Alanta could never die as long as Tit alive” -- Tity Boi lent one of the year’s hottest tapes to the ATL mixtape circuit -- a young man’s game. Take into account Felt Like Cappin, ColleGrove, and Hibachi for Lunch, which contained the timeless “Good Drank,” and no one had a more productive 2016.

2 Chainz - Daniel Son; Necklace Don

Arriving a few weeks after he began a prison sentence that would last six months, ending (for now) at the beginning of this month, Lil B.I.G. Pac was important in protecting Kodak's name while he was away. It was divisive, too, mainly due to the cover, an adaptation of Biggie's Ready to Die and, of course, the title, which offers comparisons to both Big and Pac. This is the 19-year-old kid who just tweeted, "Lil Wayne ain't the best fucking rapper alive... I am." With such brashness, it's surprising he's gotten as many top-tier cosigns as he has. Where he doesn't quite have the body of work to make such comparisons, he is similar to the aforementioned artists in terms of how unique his presence is to the game. 

He has immense self-confidence in his skills and he takes great pride in the South Florida streets and the lifestyle he represents. But what's most striking about Lil B.I.G. Pac is Kodak's humility. "It's a struggle man I'm with you all the way," he raps on "Everything 1K," embracing his deeply impoverished upbringing, which he goes on to describe on the tape. He trades war stories with Boosie Badazz on "Slayed," depicting the necessity of his ruthless behavior without glorifying it. And on the soul-bearing "Can I," he asks the world if he'll ever be able to attain some of its simplest pleasures, knowing he's wise to hold onto some doubts amid his rare gift of self-motivation.

With the recent details of the sexual assault allegations made against him, his future in the game is very much unknown, even as his opportunities are greater than ever. It's also left many of us wondering if he deserves our endorsement. Like Pac, Kodak likely abides by the words "Only God Can Judge Me." It's an idea that seems more obvious when listening to Lil B.I.G. Pac, experiencing his full spectrum of emotions and the remarkable strides he made upon being subjected to God's harshest trials. 

Kodak Black - Lil B.I.G. Pac

By early February, Future had already dropped two projects in 2016. It might have been a case of "Too Much Sauce," as he hasn't followed up with another one since. And while it did feel that he gave the game too much at once, it's off the strength of these two projects that he still stands as the biggest rapper in Atlanta -- and one of the biggest in the world -- after a lengthy hiatus (by his standards). Without taking anything away from EVOL, Purple Reign is an indispensable Future release, and not just for 2016. The project is something of a retrospective of the run he'd been on ever since Monster in October 2014. 

There is the all-encompassing savagery ("Drippin How U Luv Tha," "No Charge"), the timeless inspiration ("Inside the Mattress"), and totally effortless numbers that somehow sound like products of decades into the future ("Wicked"). After a show of versatility, though, the tape concludes with two softer, introspective songs, one with Southside and the other with Metro Boomin. The opening piano notes on "Perkys Calling" make way for the emotional outpouring that caps off the tape. He hears echoes of his past life and feels withdrawal-like pangs, knowing he's lost an essential part of his being. "I just need my girlfriend," he sings on the concluding title track, calling for codeine relief but also something/someone he doesn't have readily available.

There's a devastating force that one feels when the purple tears swell in his eyes -- try listening to the song in the wake of a breakup -- but there's also something triumphant and ultimately soothing about the lament, as he knows this pain has helped him achieve greatness. Maybe this is him saying goodbye to the one who caused him such torment. It was an era of suffering but also victory. And it was always purple. 

Future - Purple Reign

Chance The Rapper - Coloring Book  

Chance The Rapper may just be the most likable guy on the planet. His main goal -- aside from making great music -- is to be a positive role model. Just reading that sounds almost passé, or simple-minded. Many of us love hip-hop for its ability to convey human experiences of darkness and vice better than other genres. This is why it’s amazing that the gospel-indebted Coloring Book was such an important release this year, becoming the first mixtape -- or, correction: streaming-only album -- to ever garner a Grammy nomination.

The spirit of “Ultralight Beam,” on Kanye West’s The Life of Pablo, served as a preface to Coloring Book. Like Ye, Chance sees God in human terms. He believes the spirit can manifest itself in the world, and the route he’s most sure of is music -- and, specifically, hip-hop. His message is idealistic, but it’s not disconnected with the reality of everything that’s problematic about the genre, and he doesn’t convey any superiority, as he readily bears his own flaws.

Across the release is a cast of artists one could have never imagined on the same tracklist. Lil Wayne, Justin Bieber, Future, Jay Electronica, Lil Yachty (who happened to have Chance’s favorite verse), gospel star Kirk Franklin. What’s more is that each of these artists -- and the sometimes clashing facets of music they represent -- work in unison to contribute to the bold spiritual harmony that’s orchestrated by Chance and his longtime friends of The Social Experiment.

Chance could be a great preacher, but not because of his ability to recite teachings we’ve all heard at one point or another. His sermons bite into the world in front of him, taking on bitter truths and painful regrets -- and realizing that they bear little weight underneath the power of collaborative energy and a united front of inspiration -- what hip-hop has always been about. I was slow to accept this album, maybe because I didn’t feel ready to take on Chance’s principles as my own. But in listening to the revelations of the 23-year-old -- who has seen his fair share of strife in Chicago -- it becomes clear that submitting to a positive, life-affirming outlook is the hardest part. You won’t need but one more listen to prove it’s worth it.

Before the release of Jeffery, Young Thug avowed to change his name to “No, My Name Is Jeffery.” It didn’t stick, as he released the project as Young Thug, but the name change is telling about the 10-track project, which stands as the best release of his young but accomplished career. “Young Thug” suggests a rapper, one from the streets. Indeed, he’s one of the best there is -- and on tracks like “Harambe,” he raps with such an unadulterated fury that one can only assume his inspiration comes from a place of chaos. But Thug has his sights set way outside of the genre of music that has been created by guys with similar backgrounds. The trap hasn’t left Jeffery; but he’s moving on -- wearing a ruffled floor-length blue dress and a rice hat -- and not giving two fucks about it.

Like that iconic dress, the fashion statement that is Young Thug is both bold and mysterious. There’s always something undefinable about what makes him so good. But he’s mastered this formula. His stardom grows as he becomes more confounding. We’ll latch on to his usual tricks and signature lingo, but the most rewarding moments come when his creativity surpasses our understanding.

He explores his voice as an instrument more than ever before on Jeffery, singing, squawking, moaning, and mimicking various species. “I got me a high self-esteem,” he sings on “Swizz Beatz,” before finishing the hook by softly groaning “luh, luh, luh, luh” (meaning “love”). Whatever sounds he makes he can channel into pure, irresistible emotion. Take the seal yelping on the touchingly romantic “RiRi” or the melange of ‘wa-wa’’s and ‘wet-wet’’s on the wonderfully uplifting “Kanye West,” featuring another expert vocal experimentalist in Wyclef Jean. Despite being among the most unconventional, those songs feel more “pop” -- more universally affecting -- than most any rap released this year. Let the unstoppable enigma continue into 2017. Stars like this are once in a lifetime.

Coloring Book was a “God dream.” The love was oh so pure on Jeffery. But make no mistake: 2016 was a Savage year. And the most pertinent body of work belonged to the gaunt Zone 6’er with a dagger planted between his dead eyes and their chilling black irises. Anyone who had heard The Slaughter Tape or Slaughter King, both released last year, will know that the seemingly sudden rise of 21 Savage was no accident. Anyone who experienced the body-blowing assault of “Red Opps” or who heard him rap, “You a goddamn lie!” on “Skrrt Skrtt” knew his time was coming. Savage Mode marked his arrival. And he couldn’t have put out a more compelling portrait of who he is.

On Savage Mode, he’s quieter than he was on his first two tapes. Much calmer, too, which is strange considering that the project sounds even scarier. His lyrics are somehow less graphic but more haunting. Much of this less-is-more approach has to be credited to the genius of Metro Boomin, who produces every track, with contributions from Southside, Sonny Digital, and Zaytoven. His score sounds like it was made mostly with old classical instruments, stored and left to rot in the basement of an Atlanta trap house.

The streets are brought into the fold with the carefully rattling percussion -- and, of course, 21’s tales from the crypt. A tight snare always seems to encompass a particularly jolting punchline. Just like the magic of Metro’s production is in the subtleties -- in the rust and the static, and in the immaculate pitch control -- every sound out of 21’s mouth is well-tempered. Not because everything was rehearsed, but in that he’s relaying concisely drawn narratives in his real speaking voice, about real shit that simmers within him each day.

Every rasp in his voice helps bring his lyrics to life. The listener feels a shudder every time his voice breaks. And when he does decide to grit his teeth and up his energy -- as during the “Cat in the Hat” portion of “No Heart” or with his promise to “spazz out” on “Bad Guy” -- it doesn’t take much for him to be effective. More than any other project in 2016, not a syllable was wasted in the making of Savage Mode. His prior mixtapes took you to his home block, but Savage Mode goes inward into his psyche, a place with many ghosts and skeletons within.

The most outward-looking songs come at the end of the album with “Feel It” and “Ocean Drive.” He tries to obscure the evil that has embedded itself in him in order to experience temporary states of romance and, finally, relief. These two fleeting triumphs are incredibly cathartic, as we can still hear the lingering darkness. The most difficult -- perhaps impossible -- part of starting anew is dropping the weight of past sins. A world of opportunity now awaits 21 Savage, and while he’s got years of bloodshed to let go of, his greatest battle will be in facing the greatness he’s capable of.