West Coast rap has always been a powerful force in the Hip Hop landscape, yet for many years, it seemed overshadowed by other regions. Zoe Osama, a rising star in the genre, feels that this dynamic is finally shifting. The prolific artist sees the current moment as a golden opportunity for West Coast artists to shine and gain well-deserved recognition. Reflecting on pivotal experiences, such as witnessing Kendrick Lamar shut down LA after dropping “Not Like Us,” Osama tells REVOLT that interest in the region's unique sound has been reignited. He believes that now, more than ever, is the perfect time for artists like himself to push their music to the forefront.

Moreover, Osama's rise to fame has been marked by significant milestones, including his growing relationship with icon Snoop Dogg. Their connection, solidified through collaboration and mutual respect, highlights the importance of mentorship and community within the industry.

Below, Osama discusses being on Lamar’s “The Pop Out: Ken and Friends” stage, why he was missing from the group picture at the end of the viral concert, one thing he learned about Uncle Snoop, and misconceptions of LA rap that he’s pushing to change.

Get into the exclusive interview and stream his latest album, From The Eastside With Love!

What was it like when Kendrick Lamar shut down LA for “The Pop Out” and how do you think “Not Like Us” has impacted rap?

I think it finally showed the other side of the world... you know, in the market... our sound -- because the sound is not new to us. We finally got somebody to break us through to have people back on the West Coast. I think right now is a perfect opportunity for a lot of West Coast artists that make that type of music to start pushing our music. It started to get a little attention, you know, because for the longest we've been in the black. Now we outside the black. I'm taking advantage of it.

For me to be there, it was like my introduction into the industry... That's how I felt. These stages are huge and the crowd is really filled up. At that moment, that's when I realized how big I could possibly be. I took it seriously.

Do you think the beef between Kendrick Lamar and Drake sparked new heights or elevation in Hip Hop culture?

No – I think it's a shift that's already happening. In Hip Hop, you know when Memphis got it or when Chicago got it, but I feel like the shift is back on the West Coast. Everybody has a lot of opportunities right now.

You left before the picture with Kendrick Lamar and everyone on stage. Where were you headed and what does that photo say to you?

I watched 85 percent of the performance, so it was like, I thought it was over (laughs). I gotta go towards San Diego to get the kids. So, the calculations of what happened... then when I got to the car and seeing that everybody was on stage dancing and having fun, I was like, ‘That's crazy’ (laughs). I saw Jeezy left, so I thought it was a regular show. The picture itself says to me that certain things is bigger than what we actually know.

Nobody on that stage was bigger than the program now, you know? Like, regardless of where you from, whatever happened in the streets, we all know we're here for one common goal, and that's [to] pop out and show n**gas. From the moment I was there to the moment I left, it was all love, shaking hands. If we could do this for this, we could do this for the whole West Coast... That's how I feel.

It seems like everyone was dropping a freestyle to “Not Like Us.” Which artist would you love to hear on the song of the summer?

I want to hear Kodak Black do one – his flow in music is already up-tempo, so I think it would flow with him on it.

How do you balance maintaining genuine connections with fans and industry peers while managing your personal space, privacy and weeding out people who may not have your best interests at heart?

I'm weeding out the people that might not have my best interest – that's just life and your intuition. It usually unfolds as long as you hang around people – you start to see little characteristics of people that usually are a sign that you need to slide away from that person or just love from a distance. I think spiritually, just me personally, I got a good sense to catch that.

As soon as I walk in the room, I could kind of sense it. I could tell who is who in a way, or who I need to be shaking hands with and be cool with from a distance. I'm friendly, but at the same time, you know, from a distance. I think life will show you how to handle certain situations. If you were moving around in the streets, you know how to balance everything.

Your project From The Eastside With Love is very balanced in terms of themes, production, and the records you chose. What headspace were you in while crafting it?

This was the growth part because this album was supposed to be [out] last year, but it didn't make it because there were too many interpolations and samples that were going to need to get cleared... We had to go to the drawing board, and it took eight months to a year to come back with this album. At that point, I had already learned the game.

My manager, Silas, was already teaching me certain things, but I didn't really understand what he was saying because I was fresh in the industry, so I had to learn things on my own. He tells me how it's going to go, and then I learned how to do the business side besides just releasing the music. The album was definitely a different headspace than anything y'all would have heard last year. Y'all probably would have heard some more uppity ruckus type music last year, but this album is more of me as an artist instead of a rapper.

Is there any sample that you weren't able to get cleared that you really hope to use at some point?

I had this song, I think it was called “Up Now,” and the sample was “Anniversary” by Tony! Toni! Toné! That song is probably one of my favorites. When [Silas] came back with the number to clear it, we were like, “Ooh, ooh, let me put that in the cut or something, man.” We’ll probably ride around and listen to it, but it costs too much to get cleared.

Are there any misconceptions about LA Hip Hop or the culture that you find yourself wanting to correct?

They said our music sounds up-tempo. They compare it to Sage The Gemini’s record “Gas Pedal” (laughs). It killed me when they said that because that’s crazy work.

Hip Hop has a long tradition of engaging in key social commentary. What issues are you most passionate about, and how do you use your platform to address them?

I would say, No. 1, the thoughts about West Coast music, and another one being the lifestyle between Black and Brown and unity amongst us both. I use the music a lot to make sure that I understand where I'm from and why Black and Brown need to be unified more than against each other... because we all come from the same place. When it comes down to West Coast music, it’s more than “Gas Pedal” (laughs).

I just want people to hear me, you know? They can associate me with the West Coast or just as an artist. Like, how we all know Kendrick is from the West Coast, but you also know he’s a good artist. I just want people to hear me and listen to the music.

To get verses from both Snoop Dogg and E-40 is a stamp of approval many West Coasters would die for. What’s an inside story or surprising moment from working with these icons that gave you a new perspective?

When I pulled up on Snoop Dogg, it was funny because he pulled up like he did in “Baby Boy” when he cracked his window and peeped out of the car (laughs). After we shot the video, we went to the studio and smoked – he was just giving me insight on the game, and letting me know how to navigate it, and telling me what I’ve been doing has been putting the West Coast in the best light. E-40 said the same thing with his own twist on it.

When I was with E-40, he called Snoop, and told him he was with me and called me “nephew” – it was all love and the love they made me feel... It was like hanging out with your family – what Snoop told me and how he told me to navigate and keep going, and E-40 as well. I kept that in the back of my head and started moving accordingly. I remember Snoop’s assistant told me he wanted to holler at me in the studio. When I go to the studio, Snoop Dogg is just, like, facing the monitors and hits play on the record we have. He started doing his dance that he does and then asked me what I thought about his verse. I told him it went hard. He then started playing unreleased records he has with [Suga Free], and started putting me up on game and applauding me.

One thing that stood out to me when speaking with him was he told me he hates when people call on him to get on a record. He said he likes to reach out to you to get on your song... because he heard your song and liked it. Once he told me that, I knew then that he really liked my stuff because he reached out to me. The first got sent over to him and he sent it back within a day. From there, we were just chopping it up, and then we went to go shoot the video, and we were just chilling, and he was on a time limit. He was supposed to leave in almost three hours – he ended up staying with us for like four or five hours and just talking to us, which is when I knew the connection was genuine.