In a candid conversation with XXL magazine, YouTube personality and rap artist DDG articulated a vision for the future where digital content creators from platforms like YouTube and Twitch make a more significant impact on the music industry. His perspective comes from personal experience at the intersection of streaming and music, where he has found success in both worlds while facing the challenges of straddling different creative communities.
The lonely pioneer
DDG expressed frustration at what he perceives as isolation in his dual role as both streamer and serious musician. “I hate being the only artist that’s doing both. If it was more people that do that same thing as me, taking music serious, going on tour, doing things that artists do, we would take over,” he told XXL. This statement reveals both ambition and a desire for community among creators attempting similar career trajectories.
His comments highlight a perceived divide between the streaming and music industries, suggesting that while many content creators might experiment with music, few commit to it with the same dedication they bring to their streaming careers. This observation comes at a time when the boundaries between different forms of entertainment continue to blur across digital platforms.
The conviction behind his statement suggests personal experience with the challenges of being taken seriously in multiple creative spaces simultaneously, a struggle many multi-hyphenate creators face when expanding beyond their original platforms.
The collaboration controversy
While advocating for this streaming-to-music pipeline, DDG recently found himself embroiled in controversy after releasing a track featuring Tory Lanez as part of his EP “Handling Business.” The collaboration attracted attention when Lanez included lyrics that appeared to reference the ongoing tension between Kendrick Lamar and Drake, inserting DDG into a high-profile hip-hop conflict by association.
In the verse, Lanez alludes to anticipating challenges similar to those Drake has faced, implicitly acknowledging the competitive dynamics within the industry. This lyrical decision drew criticism from Hitta J3, an associate of Kendrick Lamar, who responded on social media with a pointed warning: “Tory better chill out only person coming for him is the guard on that cell block nah but free that man.”
This exchange illustrates the complex politics newcomers must navigate when entering established music circles, particularly when collaborating with controversial figures like Lanez, who is currently incarcerated for the shooting of Megan Thee Stallion.
The creative defense
During a subsequent live stream, DDG addressed the criticism with dismissive humor, claiming, “I don’t even know who this is” in reference to Hitta J3. He further distanced himself from responsibility for the controversial lyrics by explaining that he had no control over what his featured artist contributed to the track.
To illustrate his point, DDG offered a hypothetical scenario: “If Drake and SZA get into it tomorrow, and I got a song with SZA, am I beefing with Drake?” This analogy sought to clarify his position as simply a collaborator rather than an active participant in any ongoing feuds within the hip-hop community.
His defense highlights a common challenge for emerging artists, particularly those coming from digital content backgrounds, when navigating established industry dynamics and relationships. The incident demonstrates how collaborations can unexpectedly draw creators into conflicts beyond their immediate control or intention.
The future vision
Despite recent controversies, DDG remains focused on his musical evolution and broader vision for content creators in the music industry. In his XXL interview, he disclosed ongoing work on new music projects without revealing specific details, maintaining anticipation among his audience while continuing to advocate for more streamers to pursue serious music careers.
His perspective suggests a belief that the unique viewpoints and massive audiences developed by digital content creators could fundamentally reshape the music landscape if more streamers committed fully to musical artistry. This vision of transformation comes at a time when traditional paths to music industry success continue to evolve alongside digital platforms.
The call for streamers to enter music more seriously reflects recognizing untapped potential within the creator community, potentially leading to innovative approaches to music creation, promotion, and audience engagement based on skills developed through streaming careers.
As the boundaries between different forms of digital entertainment continue to blur, DDG’s advocacy for streamers to embrace music careers points toward a future where content creators leverage their established audiences and digital savvy to create new paths to musical success. His own journey serves as both blueprint and cautionary tale for those looking to follow, demonstrating both the opportunities and challenges that come with bridging these creative worlds.
Whether more streamers will heed his call remains to be seen, but the conversation he has initiated highlights important questions about identity, credibility, and opportunity in an increasingly interconnected digital entertainment landscape. As platforms continue to evolve and audiences grow more accustomed to creators working across multiple mediums, the potential for streamers to make significant impacts on the music industry may indeed grow, just as DDG envisions.
