By Azzam Bilal 
HangupsMusic.com – Toronto, The landscape of underground rap is increasingly defined by a tug-of-war between artists and their most dedicated, if sometimes overzealous, fans. For OsamaSon, a rising figurehead in the distorted, high-octane world of "rage" rap, this tension has become a defining characteristic of his career. Rather than fighting the tide of unauthorized leaks that have followed his rise, the artist recently chose to subvert the narrative during a high-profile appearance at Toronto’s First Class Fest. Over the weekend of August 29, 2026, OsamaSon transformed a standard festival booking into a bold statement of artistic intent, delivering a Saturday night set composed entirely of unreleased music.
The decision to pivot toward a setlist of unheard tracks was born out of logistical necessity that turned into a creative opportunity. Due to an unexpected shakeup in the First Class Fest lineup, OsamaSon was tapped to perform on both nights of the event. While his first appearance catered to the hits that established his presence on the charts and streaming platforms, his second night was reserved for the hardcore fans and the "leak hunters" who have scoured the internet for his work. By performing 18 tracks that had never seen an official release, OsamaSon effectively turned the festival stage into a live-action "data dump," reclaiming the element of surprise that leakers have frequently stolen from him.
The Saturday night performance was an exercise in raw energy and sonic experimentation. The 18-song setlist was anchored by the live debuts of tracks that had previously existed only in the form of low-quality snippets or whispered rumors within Discord servers. Songs like “All Day,” “Range Rover,” and “Guap in My Pants” showcased a refinement of the abrasive, bass-heavy sound that has become his signature. Other debuts included “Movie,” “Broad,” and “Creek,” each met with the kind of frenzied reception usually reserved for established anthems. The atmosphere in Toronto was electric, as the audience realized they were witnessing a rare moment in modern hip-hop: a major artist treating a festival crowd like a focus group for his future discography.
To understand the significance of this performance, one must look at the tumultuous relationship OsamaSon has had with digital security. In 2024, the rapper was the victim of a massive security breach when a collection of over 400 unreleased tracks was dumped onto the internet simultaneously. For any artist, such a leak is catastrophic, devaluing years of work and ruining the carefully planned rollout of new eras. The situation repeated itself in early 2025, when his highly anticipated album Jump Out appeared on leak sites and social media weeks before its scheduled debut.
In a previous interview with The Fader, OsamaSon expressed the profound frustration that comes with this loss of control. He noted that while he appreciates the overwhelming demand for his music, the premature release of his work strips him of the ability to present a cohesive vision. He lamented the loss of "the moment"—the ability to release a cinematic trailer, a polished music video, or a surprise livestream to preview a new sound. When the music is leaked, the marketing machinery is rendered obsolete, leaving the artist to pick up the pieces of a fractured campaign. By choosing to perform an all-unreleased set in Toronto, OsamaSon seems to be finding a middle ground, providing the fans with the "newness" they crave while keeping the presentation within his own hands.
The First Class Fest setlist provided a glimpse into the evolution of his sound following the success of his 2025 project, Psykotic. That album, which received critical attention for its relentless energy and distorted production, cemented his place as a leader in the post-Opium landscape of rap. In Toronto, the new tracks suggested a move toward even more aggressive textures. Tracks like “Vamp City” and “HiTech Demon” leaned into the gothic, nocturnal aesthetic that has become a staple of the underground, while “Lil O the Impaler” and “LeBron James” hinted at a more playful, albeit still heavy, lyrical approach.
Beyond the solo material, the buzz surrounding OsamaSon has been amplified by his ongoing collaboration with fellow underground sensation Nettspend. The two have been teasing a collaborative project for months, a prospect that has sent the "Google Drive ninjas"—a nickname for the community of fans who hunt for leaked files—into a frenzy. The synergy between OsamaSon’s guttural delivery and Nettspend’s melodic, often ethereal approach to rage beats represents a significant pillar of the current youth movement in rap. While none of the collaborative tracks were officially confirmed as part of the Toronto setlist, the shadow of that upcoming project loomed large over the weekend.
The phenomenon of the "unreleased set" is a fascinating development in the streaming era. In an age where music is often consumed as a disposable commodity, creating an exclusive live experience around songs that cannot be found on Spotify or Apple Music adds a layer of "event" status to a concert. It forces the audience to be present in the moment, as the only way to hear the music is to be physically in the room—or to watch the grainy fan-recorded footage that inevitably hits X (formerly Twitter) and Instagram minutes later. For OsamaSon, this strategy serves as a defense mechanism. If the music is going to get out anyway, he might as well be the one to introduce it, accompanied by the intended visual energy and stage presence.
The full setlist from the Toronto show serves as a roadmap for what fans can expect in the coming year:
- LeBron James
- Lil O the Impaler
- All Day
- Horses
- Roster
- Snowman
- Range Rover
- Beat It / Private
- Guap in My Pants
- Movie
- HiTech Demon
- Broad
- Ref
- Habits
- Vamp City
- Off That!
- Creek
- My Bad
As the dust settles on First Class Fest, the industry is watching closely to see how OsamaSon handles his next official release. The Toronto performance proved that he has a captive audience willing to follow him into uncharted territory, but the threat of leakers remains a constant shadow. His defiant stance on stage suggests a shift in mindset: if the digital walls are permeable, the live stage must become the new fortress.
The rapper’s journey from a victim of digital piracy to a curator of his own "leaked" experience reflects a broader trend in the music industry. Artists are increasingly forced to adapt to a world where privacy is a luxury and a "data dump" can happen at any moment. By leaning into the demand and using his unreleased vault as a tool for live engagement, OsamaSon is not just surviving the leak culture—he is attempting to master it. Whether this leads to a more secure rollout for his collaboration with Nettspend remains to be seen, but for one weekend in Toronto, the "Google Drive ninjas" were forced to take a backseat to the man himself.
As he continues to tour and refine his sound, the tracks debuted at First Class Fest will likely undergo further transformations before they hit digital service providers. For the fans who were there, however, the versions they heard—loud, distorted, and raw—will remain the definitive introduction to the next chapter of OsamaSon’s career. The underground has always thrived on the feeling of being "in the know," and by giving his fans a glimpse behind the curtain, OsamaSon has ensured that his narrative stays centered on the music, rather than the security breaches.
