This week, multi-talented music artist Phonte announced to hip-hop outlet DJ Booth that he would be getting back with his brother-in-rhyme Big Pooh and reuniting as Little Brother. The cult heroes will be without their DJ and producer 9th Wonder, which means they won’t be back as a full trio, but their reconvening is still great news. Phonte’s revelation may not be a monumental development to a generation of young rap fans who follow artists like Drake, J. Cole, Kendrick Lamar, and others, but best believe those early-30s artists, whose adolescence was shaped by albums like 2003’s The Listening and 2005’s Minstrel Show, expressed joy and nostalgia upon hearing the news.
Little Brother may not be the first name that rolls off casual hip-hop fans’ tongues when discussing canonical groups, but they’re “if you know, you know” poster children. Even if they didn’t reach commercial heights (thanks to exploits like BET banning their “Lovin’ It” video for being “too intelligent”), their soulful, insightful sound and brilliant meta-criticism of Black culture made an indelible impact on hip-hop. Phonte has admitted, “I definitely think we’re an influence on a lot of guys coming out like Drake and Kendrick [Lamar] because they told me so.” That’s why the Little Brother reunion will be a chance for the group to circle back and get the roses they deserve for their contributions to hip-hop.
The trio, who met at North Carolina Central University in the early 2000s, was one of the first indie acts to catapult to a new plateau via the internet. Early leaks of their “Speed” and “Whatever You Say” singles gained a groundswell of fans on message boards like OkayPlayer. Their debut The Listening album was a critical and underground darling, with Phonte and Pooh’s captivating, honest lyricism laced by 9th Wonder’s soulful, hypnotizing production being deemed a refreshing diversion from the sounds dominating mainstream hip-hop at the time.
It would be easy to champion them by juxtaposing The Listening against the average 106 & Park fodder, but a commendation predicated on comparison doesn’t do their music justice. In any era, songs like “Whatever You Say” would have people feeling like Roots drummer Questlove, who once gushed “I made 4,887,234 people listen to ‘Whatever You Say’ at gunpoint, and I don’t even own a gun!” A song like “Speed,” where Pooh and Phonte rhymed about having day jobs and trying to get by, is eternally relatable.
Their 2005 The Minstrel Show album is also universally relevant. The 17-track album introduced listeners to the fictional UBN (U Black N—-s) Network. If that satire-driven analysis of Black pop culture debuted tomorrow, it would be considered just as timely, provocative, and insightful. Lead single “Lovin’ It” was mired in controversy after BET allegedly refused to air the video because they felt it was “too intelligent” for their audience. Could you imagine the firestorm that such a decision would engender in 2019 with social media?