LUC-iD Is A Civil Rights Activist Turned Pop-Punker Who’s Creating Tracks That Both Reflect and Challenge The Computer-Age Era of Music.

RIYL: skateparks and heartbreaks
What else you should know: LUC-iD doesn’t hold anything back.

The outspoken hyperpop artist wants to be the next voice of his digital-age generation and create his own brand of pop music. He combines eclectic music styles, internet slang and a punk attitude to create an auto-tuned hybrid of hip-hop and pop-punk. Like many Gen Z kids, LUC-iD wants to use his creativity and online platforms to bring his community together while not losing track of who he is.

His single “SUSSIN,” the first of three tracks off his forthcoming EP LUC-iD, is a track your Discord friends would jam out to while live-streaming a PC game — or whatever the kids are doing these days.

The track speaks about the times his past partner would switch off her lovey-dovey attitude while her friends were around. The feeling of going completely unnoticed left LUC-iD feeling confused and made her look – to put it his way – kind of “sus.” (This is slang for “acting suspiciously.” Please keep up.)

So, her friends were, indeed, sussin’ as LUC-iD notes. He sings. “Your friends are kinda sussin’/Can you make a deduction/Excuse this interruption.” Imagine ignoring LUC-iD like that.

This experimental artist is still a new face in the music scene, but his real name may ring a bell throughout his city.

Last summer, protestors all over the country took to the streets to demand justice after George Floyd’s unjust murder and LUC-iD, whose real name is Lucid Shinobi, was one of them. In Fort Worth, the civil rights activist was a leading voice that helped organize demonstrations against police brutality. He and other protesters even made a list of demands, which included dropped charges for protestors and more mental health resources, and presented them to Fort Worth Mayor Betsey Price.

There’s no doubt LUC-iD will take over PC music judging by the way he can lead his comrades.

Header photo by Mitch Johns

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