“I wanted to add a long outro with a guitar,” co-producer Louis Bell told Billboard shortly after the single’s release. Both artists sound eerily calm for claims of such revelry, letting the spitting beat and waves of distortion raise the energy level around them.
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Over a twinkling trap production that sounds like the sun setting, Post details living up to the titular lifestyle by risking arrest on stage and throwing a TV out of his hotel room, all built around his chorus hook, “I’ve been f–king h–s and popping pillies, man, I feel just like a rock star.” Guest rapper 21 Savage doubles down with boasts of “f–king superstars” and making the “Hot Chart,” while imitating Post’s sing-song delivery. And with “Rockstar” - a hedonistic turn-up anthem whose actual sound is highly melodic, unthreatening, even kind of sedate - he found the perfect anthem for a generation who might not have even known the difference between The Doors and AC/DC. It wasn’t quite rap, and it definitely wasn’t rock, but it electrified young listeners from both worlds.
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With the rise of EDM and hip-hop in the age of streaming, guitars had largely been reduced to a seasoning in popular music, and most of the biggest acts that still operated from a rock home base - Imagine Dragons, Twenty One Pilots, Panic! At the Disco - had decentralized the instrument or removed it entirely, in favor of heavy beats and dense soundscapes.īut the artist born Austin Richard Post backdoored his way into a 2010s version of rock stardom, via a series of contagious trap-pop singles, with soupy production, knockout choruses, and Post’s one-of-a-kind warble. “White Iverson” led to Post’s 2016 debut, Stoney beerbongs & bentleys burrowed further into Post’s luxurious, messy melancholy, while 2019’s Hollywood’s Bleeding found him buttoning up and moving closer to the conventions of mainstream pop, all while retaining his peculiar touch.By the time Post Malone broke out as a rapper in the mid-’10s, conventional rock stardom had all but been left for dead. He turned a love for the video game Guitar Hero into a love of actual guitar, playing in a metal band during high school while also starting to explore hip-hop. At live shows, there were no dancers, no pyrotechnics, just Post, in a baggy football jersey with a cigarette in his hand, bringing 60,000 people into his bedroom: The pop star as moody teen.īorn in 1995 in Syracuse, New York, and raised in the suburbs of Dallas, Post grew up on a mix of country, classic rock and rap: In one well-circulated anecdote, young Post would get called into the living room to entertain Dad and friends with the dance to Terror Squad’s “Lean Back”. The bass boomed, the melodies soared, and there was Post in the middle, rap-singing his woes like a lonely prince self-exiled in the castle. His signature tracks-“rockstar”, “Sunflower”, “Congratulations”-were both bleak and beautiful, spaced-out and mainstream, hip-hop but not quite. Post didn’t just look beyond genre, he broke it down, mixing the dark grandeur of trap with the anthemic release of classic rock and country. No matter how Platinum the records go, he still has the air of an ordinary guy, a Crocs-and-Bud Light kid from the suburbs who stumbled backward into fame just by strumming what was in his heart. Plenty has changed, but Post’s appeal is more or less the same.
When Austin Post uploaded “White Iverson” to social media in early 2015, he was 19, scrounging for ramen and sleeping in a friend’s closet.
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