Why Kendrick Lamar’s Non-Traditional Interview Could Signal a Shift in Hip Hop Media

In a recent move that caught the industry’s attention, Kendrick Lamar chose to conduct an in-depth interview outside the traditional hip hop media circuit, opting for a written format with a hand-picked interviewer at Harper’s Bazaar. This choice not only reflects Kendrick’s interest in thoughtful storytelling but also subtly acknowledges the publication’s milestone of appointing Samira Nasr, their first Black woman as editor-in-chief—a testament to Harper’s Bazaar’s own commitment to diversity and fresh perspectives. Coupled with a candid tweet from his manager, Punch, this decision highlights an increasing tension between prominent artists and hip hop media.

Though Kendrick himself hasn’t explicitly addressed his stance on hip hop media, his work occasionally hints at it. In a past diss track aimed at Drake, Kendrick referred to DJ Akademiks as “compromised.” While this comment was directed at an individual, it also suggests a broader frustration with a style of media coverage that prioritizes sensationalism over genuine storytelling—a sentiment reinforced by Punch’s recent statement distancing himself and Kendrick from the industry’s mainstream outlets.

For artists and industry watchers, Kendrick’s choice to publish a written interview is promising. By sidestepping video platforms, he required fans to sit down and read his story—engaging more deeply with his narrative. In an age where immediacy often overshadows depth, Kendrick’s move signals a desire for storytelling that resonates on a more profound level. It’s a model that many in the industry—and as a journalist myself—hope could inspire a return to authenticity in media.

The issues Kendrick and Punch highlight speak to a broader industry trend. Many major hip hop media platforms have adopted a commercialized model, often prioritizing advertising revenue and label partnerships over authentic storytelling. This approach feels far removed from the blog era, where independent sites focused on sharing quality music and helping listeners discover new artists. For fans who remember those days, the current landscape, with its pay-to-play emphasis, can feel impersonal and detached.

However, there’s a growing number of smaller publications committed to positive change. Many are working tirelessly to spotlight real talent without sensationalism, aiming to bridge the gap in artist-media relationships. Publications like The Wave/SoundsLikeWater, which I founded, are stepping into this gap by focusing on genuine music discovery, artist development, and supporting artists with rollout strategies, press releases, and PR. While some major outlets may have eroded artists’ trust, independent platforms like The Wave/SoundsLikeWater aim to rebuild it by staying true to the art and culture of hip hop.

While some journalists may feel unfairly grouped into these critiques, it’s crucial to recognize that the trust issues between artists and media are more systemic. As a journalist myself, I’m indifferent to Kendrick bypassing hip hop media. I see it as a reflection of an environment we’ve collectively reached. While certain journalists argue they haven’t wronged artists personally, it’s often the cumulative effect of sensationalism and occasional disrespect that has soured these relationships. Even if Kendrick wasn’t directly targeted, he may have seen or heard comments that felt poorly researched or misinformed, affecting his view of the industry as a whole.

As artists and audiences continue to express frustration with the current state of hip hop media, it’s clear a shift is needed. Whether the solution lies in new media models, a return to authentic storytelling, or simply in the growth of independent publications focused on quality over clicks, one thing is certain: the culture deserves a media landscape that honors its depth, creativity, and authenticity.

“This editorial reflects the views of The Wave/SoundsLikeWater editor-in-chief on the current relationship between hip hop media and artists.”