JPEGMAFIA Announces Headline Dublin Shows
The Academy, Dublin
Saturday 2nd April 2022 - Over 18's Show
Sunday 3rd April 2022 - Over 14's Show
Tickets €22.40 Incl. booking fee
JPEGMAFIA has announced two headline shows at The Academy, Dublin on Saturday 2nd and Sunday 3rd April 2022. Tickets from €22.40 are on sale now from Ticketmaster Ireland.
JPEGMAFIA is often praised for his ability to create music that seamlessly joins an array of emotions, sounds, and subject matter in a way that many haven’t heard up to this point. Though his approach might be new to some listeners, the LA-based rapper and producer’s journey through life, in many ways, predestined him for this kind of musical versatility. In his early years, Peggy was raised in Brooklyn, New York by Jamaican parents. Then, as a preteen, he moved to rural Alabama, a place where he’d have to face a type of racism that was unrelenting in comparison to his experiences on the East Coast. Those early, contentious encounters led a young JPEG to gravitate towards early Ice Cube records, which spoke directly to what he was dealing with at the time. Cube’s clever, intellectual, and militant approach led Peggy to making his own music in his early high school years, joining the LA rapper’s style with the flamboyance of artists like Cam’Ron back home in NYC.
After graduating high school, JPEG enlisted in the military, deploying to various corners of the world where he’d pick up a little bit of influence from each locale. None would prove to be more crucial than his move to Baltimore in 2014. A few months after he arrived, the city erupted in a fiery uprising in response to the death of 25-year-old Freddie Gray at the hands of Baltimore City Police. The city’s passion and absence of fear when standing up to local law enforcement had a profound effect on Peggy, who’d only witnessed scenes like those while on active duty outside of The States. It led him to crafting two projects that helped him catch the eyes of people across the country and the internet. 2015’s Darkskin Manson, eerie in sound and content, was his first project as JPEGMAFIA and a direct response to what he saw happening on Baltimore streets between citizens and police. Songs like “Mask on the Masters” and “Cops are the Target” featured haunting vocals that channelled his anger and mind-twisting production that only bolstered those sentiments. That project’s follow up, 2016’s Black Ben Carson, featured even wackier production and satire, poking fun at people like Ben Carson and Stacey Dash, who, at the time, were making questionable political statements that felt detrimental to black progress.
Though he relocated to Los Angeles in late 2017 to further his music pursuits, Baltimore City is still the foundation and main source of inspiration for Peggy’s artistry. In a 2018 documentary by The FADER based around his relationship to the city, he said, “The music out of this scene, I felt it the most out of anything. It’s something deeper — it’s harsher, it’s more painful, it’s more soulful. It’s still something different about it to me.”
It was in Los Angeles that JPEG released his breakthrough album, Veteran, at the top of 2018. In comparison to his first two projects, which were conceptual pieces, Veteran essentially served as Peggy’s autobiographical introduction to the world and his most versatile display of his skillset up to that point. The album established JPEGMAFIA as one of the more exciting artists that rap has to offer, due to his ability to make political commentary and the concerns of American millennials engaging, humorous, and informative all at once. The album changed his life. In the year following Veteran, he became a mainstay in American media, the festival circuit, and soon would begin receiving praise and admiration from musical titans such as Rick Rubin and James Blake, among others.
Now, after one of the more impressive introductory runs for a new artist in recent memory, JPEG is mastering his ability to strip the music down to a point of being more transparent, all while maintaining what made people fall in love with him in the first place. That’s where his new album, All My Heroes Are Cornballs, comes in. The 18-track project follows in the footsteps of his earlier work, in that, as a listener, you step into uncharted territory whenever you press play on any of Peggy’s songs.
That way of thinking, he says, comes after finally breaking into an industry he’s been targeting for the better half of his life, only to realize that so many of the people he idolized are disappointingly disingenuous. All My Heroes Are Cornballs is, in some part, him grappling with that lightbulb moment, but more importantly, him making sure he doesn’t replicate their deficiencies. “When you put the scope of today — when we know more about people’s intentions — and you put it back on some of these people, you realize that they’re not really who you thought they were in any way, shape, or form,” he says. “This album is my real-life realization.”