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Grey clouds hung ominously over Brooklyn Bridge Park’s Pier 5, as early sojourners made their way to the center stage of the 2013 Brooklyn Hip-Hop Festival. Anxious fans were treated to shorter lines at the smoking food stands, though it was clear they were hungry for more than a good snack. The crowd was filled with ardent hip hop lovers, with several generations represented. At the beginning though, a majority of those listening were old-schoolers, not impressed by loud bass, drug dealing or swag. From the looks of things, most were there to see their heroes EPMD get down to business.
Around 2:00 p.m., Torae, an artist himself who often helps host the yearly festival’s main day events, got on the microphone. “Introducing a young brotha’ from Crown Heights, Brooklyn…,” prompting obvious Brooklynites to go crazy. “A young emcee I’ve been following for some time… Dillon Cooper.”
The stage was soon hit with an explosion of energy, dope lyrics spit at a rapid pace, and a vibe that forced the milling crowds to stop for a second, take note and bop their heads. The 20-year-old Cooper did something unexpected — he got a large portion of the crowd to rock with him. It was quite the feat, especially since he was only allotted enough time to perform four tracks. Some artists that proceeded after him would have longer sets, but were still unable to impress the tough Brooklyn crowd. There was something special about Dillon Cooper.
It might have been his ’90s-inspired sound. Some have labeled him the next Joey Bada$$ — a fair characterization, given that he raps over classic beats like Mobb Deep’s “Survival of the Fittest.” Not to mention, he’s a lyricist from Brooklyn, which automatically warrants some comparisons to those who also come from the borough.
Perhaps, it’s his relentless energy that oozes out of every track from “The Best” to “Warning Shots.” He’s even garnered comparisons to the equally young and vivacious Chance the Rapper. Given the Chicagoan’s rapid rise to stardom recently, being mentioned with him in the same breath would never be a bad thing.
Speaking with Cooper, he seemed to be taking it all in stride. “I’m super excited about it, but I don’t want put myself in a box,” he said, referencing these early associations, “I’m a musician.”
His debut project, named in honor of his friend Brian “Cozmik” Scott, has received praise from critics. “Cozmik came out two weeks ago,” Cooper said, sounding very pleased. It’s a cool feeling, I’m glad people vibe with it,” he added, reinforcing his humble and happy demeanor.
Dillon Cooper seemed to enjoy his time at the festival, whether he was backstage talking to other artists, hanging out with his mom and manager near the press area, or shaking hands with new fans. This optimism influenced his outlook on hip hop, especially New York’s. “Hip hop is in a good place. Brooklyn is in a very good place right now. You know we have the whole Beast Coast movement, Pro Era and the Underachievers… I like what they’re doing.”
First P.E. started to yell Beast Coast, then Flatbush Zombies and the Underachievers started to make serious waves, but now Cooper is trying to get readers and listeners to recognize a new Brooklyn movement: the R.A.D. Movement; Ridiculous And Driven, two words that Dillon Cooper and his associates live by.
“It’s not a crew, it’s a movement. I’m willing to work with anyone who feels the same way. We’re trying to gather around a lot of like-minded individuals,” said Cooper.
Pio DiBenedetto, who directed the buzzing “State of Elevation” video, and whom Cooper believes is “next up in the video game,” is one such individual. In the video, the MC and his friends travel to different New York City locales, while (allegedly) smoking a ridiculous amount of weed and vibing with bodega workers.
Cooper hopes to soon impress more than Brooklyn hip hop heads, as he is slated to go to Germany to perform at a music festival with the likes of Action Bronson and the Wu Tang Clan. As for plans when he returns?
“I want to record more. I started my next project and it’s just about getting better,” he said.
It seems sitting down to really digest his work and rising fame is something that would only hold Cooper back.
“I don’t have a favorite track,” he said, in regards to Cozmik. “I really don’t have a favorite track. Between me and you — [and] now, I guess, the world since this is an interview — when I listen to Cozmik it already sounds old. Whenever I record a new track, that becomes my new favorite, so I guess my favorite track would be my newest.”
While getting the word out about the R.A.D movement and its music is currently Cooper’s primary concern, that doesn’t hold him back from thinking about loftier goals.
“Of course I would like to work with Jay Z, but, and this may sound left field, I would love to work with John Mayer,” he said, “I met him once and he sparked something in me, so I definitely want to work with him.”
At the end of the interview, Dillon Cooper left the press area the same way he came: excited, a little overwhelmed by the attention, yet grateful for the opportunity. Long after he left the stage, he was still basking in the moment.