Imagine These 10 (Hypothetical) Rap/Rock Stadium Tours

It’d be hard to imagine a bigger rapper in the music industry as far as status and legacy than Jay-Z. The problem is, now that The Throne has fallen, the only artist he headlines tours with is his wife Beyonce; for those unwilling to get into formation (or maybe have outstanding hits placed on them by the Hive) it’s not exactly the ideal pairing. If there’s anyone who Hov would consider doing a co-headlining tour with outside of hip-hop, it would probably be Coldplay.

More fitting however, would be Jack White, the former White Stripe turned solo musical icon, a man who’s both incredibly business savvy and critically adored. Though initially not a rap enthusiast, recent years have seen signing rappers and collaborating with the likes of fellow Detroit representer Black Milk. Remember, Jay has already proven he can work with rock bands, and holds a body of work that most rock fans can at least begrudgingly appreciate; a collaboration could bridge the gap between these two realms like never before.

A good many of us remember the infamous “Rebirth” period of Lil Wayne’s career, where the GOAT contender made a ‘rock album’, played a ton of guitar on his and his artists’ records, and even collaborated with the likes of Limp Bizkit and Weezer. While some of that music aged rather poorly, it demonstrated that Wayne was actively seeking a gateway into the rock world.

One need look no further than Fall Out Boy, who have previously with producers and rappers like Timbaland and Lupe Fiasco. They’ve even managed to filter a slight rap influence into their current production style; listen carefully and you can hear the trap-style snares in recent hits like “Centuries”. While the pair have already collaborated on songs like "Tiffany Blews" and the leaked "America's Suitehearts Remix," a 2018 collaboration could easily result in a skyrocketing success.

Despite being still one of the biggest commercial forces in rap, Eminem has managed to become surprisingly ‘uncool’ to many younger listeners; it's especially crazy considering Em's own come-up in the early millennium, where he was easily one of the most influential artists out. A big part of his tonal shift stems from Em distancing himself from a traditional hip-hop sound; his arena-rock approach to crafting recent hits is not really fitting alongside the more quick-fix style of younger rappers.

Perhaps he needs to look toward another band suffering from an image crisis within their own genre. Imagine Dragons may not exactly be critical darlings, but they've become adept at crafting hip-hop adjacent hooks with infectious electronic production. In many ways, it's surprising that Em hasn't collaborated with Imagine Dragons before; it seems only a matter of time.

Uzi has always expressed adoration for the "Antichrist Superstar," and to his credit, Manson is no stranger to the hip-hop world, with DMX, Eminem and Gucci Mane collaborations under his belt. A self professed "rockstar," Uzi's daredevil antics and anthem-like choruses are tailor made for the rock scene; he feels primed for a crossover.

Conversely, Manson’s dark theatrics could stand to benefit from new batch of younger fans hesitant to trudge through his catalog of dark classics. A collaboration could yield some exciting work from the duo, as sludgy Uzi deep cuts such as “Right Now” have more than a little in common with records like Manson’s “Cryptochild." Not to mention, it would be something for Lil Uzi to cross off his bucket list.

Both Macklemore and Twenty One Pilots have made careers out of melding rap and pop into the most palatable forms while doing their best to inject their music with substance and meaning. At their respective bests, they showcase an admirable understanding of songwriting and style. At their worst, you basically feel yourself internally pleading for them to stay in their lane.

However, I can’t think of a more fitting pair of artists with DIY sensibilities, massive crossover appeal, and the best of intentions - even if the end results can make some of us cringe. Together, perhaps the duo can actually smooth out each other’s rougher edges and make a more complete package.

The dark electronic vibe of Hey Violet and Travis Scott might not make sense on paper, but there’s actually strange parallel between the two. While both acts initially started off under different stylistic guises (Travis as a post-Cudi style rapper, and H.V. previously as retro-rockers Cherri Bomb), both have found success through their dirge-like celebrations of melancholic decadence.

While I don’t know how many fans these two acts claim to share, I can’t imagine Violet records such as “Hoodie” or “Guys My Age” being too unfamiliar to anyone who enjoys the sort of hazy menace on records like Scott's “Goosebumps” or “Butterfly Effect”. If anything, Scott & Mike Dean’s smeared and distorted production style most certainly feels like something that could elevate Hey Violet to a sharper plateau.

Torridly emotional; Dark and spastic; Vehemently despised by critics and unapologetically defended by fans. Both X and Korn have managed to blend eccentric vocal stylings, morose lyrics and deep throbbing rhythms to significant success. Korn themselves have time and time again proven to be huge rap aficionados; though their bassist’s attempt at grabbing the mic is better left forgotten. On the flip side, XXX’s debut 17 demonstrated a penchant for dark alternative alongside his aptitude for technical rap.

True, the two colliding could easily spell disaster. On the other hand, a collaboration between X and Korn might spell one of the most delightfully frightening blends to ever be concocted, should either party deem it worth their time.

Curren$y fans remember the "Creative Control Era,"  a time where his commercial appeal was at an all-time peak and more than a few rappers were studying his every move. Spitta frequently praised artists like The Doors, while touring with a live band prone to going off on trippy jam sessions appropriate for his weed-saturated rhymes. 

Who better to compliment the stoner-rock God than Tame Impala, a band who live and breathe smoked-out, trippy psych-rock and 70s acid vibes. While it might be difficult to line this one up, it's not hard to picture both Spitta and Tame Impala lighting up for a dope live jam session. And who knows - maybe even some original music.

In the last year, few members of the Soundcloud Rap generation have managed to demonstrate a knack for pop like Trippie Redd. While records like “Dark Knight Dummo” and the like hover around the menacing end of the spectrum,  songs like “Woah Woah Woah”, “Wish” or “Love Scars”,  could very well be the strangest hits in your top 40.

On the other side, UK Act The 1975 have become commercial and critical darlings, demonstrating arty attitudes but straight-ahead pop sensibility and a similar dark melancholy romanticism to Canton’s enfant terrible. Imagining drifting from the synthy crunches and stomp-alongs of Trippie’s set, into a swooning guitar drift, over which Trippie and Matty Healy exchange harmonies is a particular sort of dream...or nightmare. 

Wednesday Campanella is a particular sort of cult act in America, known for an eccentric pop mix of jazz, hip-hop, EDM and other curious influences curated by former Nujabes protege Kenmochi Hidefumi; a backing for MC/Singer Kom_I’s curious mix of obscure references and tongue twister riddles. It's no wonder that one of their biggest international shows to date was a stint at Odd Future’s Camp Flog Gnaw festival, a personal selection from Tyler, the Creator himself.

The group and Tyler have professed admiration for one another. Given that both have their own unique and established fan-bases, it stands to reason that if Campanella ever wanted to try to tour the US, or if Tyler ever wanted to tour Japan, both have someone in their corner.