By admin 
HangupsMusic.com – New York City, The vibrant pulse of Atlanta’s rap scene has long resonated globally, but few recent tremors have shaken the landscape with the raw, infectious energy of Tezzus’s "ÜWay." More than just a song, it’s a rallying cry, a viral phenomenon born from the depths of Tezzus’s project The Resurrectiön, and an undeniable testament to the enduring power of genuine connection. The track, with its almost spiritual chant of "Shout out to my mama/Shout out to my bros," has become an anthem, echoing the kinetic, club-dominating soundscapes that defined Atlanta hip-hop in its prolific 2010s era. Its lightning-bolt impact has captivated audiences, sparking a digital trend and solidifying Tezzus’s place within Young Thug’s revitalized, youth-focused YSL collective.
On a recent balmy late summer afternoon, the dynamic duo of Tezzus and fellow YSL new-generation member Diamond settled into the bustling Rolling Stone* offices in Manhattan. Their presence in the city followed a high-octane performance in Central Park, part of Young Thug’s "New Generation Tour." Tezzus, reflecting on their journey, emphasized the inclusive spirit driving their collective ascent. "I brought my whole crew on the tour, you know what I’m saying?" he shared, a hint of fierce pride in his voice. "Like, we’re building our own family." This ethos of brotherhood and loyalty forms the bedrock of their burgeoning empire, extending far beyond the confines of mere musical collaboration.
The origin story of Tezzus and Diamond is as organic and serendipitous as the sound they craft. Diamond recounts driving nearly an hour from his home with a dual purpose: to acquire some weed from Tezzus and, ever the entrepreneur, to sell some clothes he had stashed in his car. Upon arrival, he found himself immersed in an atmosphere that he likened to a "biker clubhouse"—a vibrant hub teeming with friends, animated conversations, video game sessions, and the easy camaraderie of a true community. "Just like a little get-together for the bros, for real," Diamond* recalled, encapsulating the effortless comfort he felt. Tezzus, with characteristic brevity and a knowing smile, summed up the pivotal moment: "And then he never left." This simple statement belies the profound bond that was forged, laying the groundwork for a partnership destined for greater things.
The expression "ÜWay" has transcended its origins as a song title to become the very identity of their crew and a versatile catchphrase for their listeners. Depending on the context and delivery, it fluidly shifts from a casual greeting to a definitive farewell, or even a triumphant declaration of victory. "We so fucking awesome that the world just ran with it," Tezzus proclaimed, radiating an infectious confidence. "The world just love to say it so much." This widespread embrace speaks volumes about the magnetic appeal of their authenticity and the undeniable connection they’ve forged with their audience.
Their musical output has mirrored the rapid spread of their mantra. Tezzus, a prolific artist, followed up his 2024 release Tezzus Khrist with a string of compelling projects, including Tezzy Pendergrass. Diamond, not to be outdone, dropped Nö Idöls last summer, a project that spawned their breakout collaboration, the electrifying "Bada Bing, Bada Bööm." Their collaborative synergy was further showcased on "Duality," a track featuring streamer Plaqueboymax, which later found a home on their joint April mixtape, UY Scuti Böyz. Both artists have maintained robust solo careers: Tezzus released The Resurrectiön in June, while Diamond enlisted the legendary DJ Holiday to host July’s Bling Slime Völ 1, a testament to his growing stature within the industry.
The commitment to their "family" is evident in their touring strategy. With 14 individuals forming their touring party, Tezzus firmly believes that the strength of their friendships will outlast any fleeting trends in the music industry. "That’s why I feel like we’re going to last longer than everybody," he asserted, "because we really had to grow up together, more than just getting put together to do music." This philosophy sets them apart, grounding their ambition in a foundation of shared history and mutual support.
Tezzus’s journey into music began at a tender age, a destiny he seemed to recognize intrinsically. He vividly recalled being five or six years old, performing for an invisible audience on his bed, a nascent superstar in his own imagination. "I always told myself, ‘I’m gonna be a rapper,’" he recounted. His parents, barely out of their teens themselves when he was born, played a unique role in his upbringing. "They were like my big brother and sister, like we raised each other," he explained, painting a picture of a tight-knit, unconventional family unit. A pivotal moment arrived after a school fight led to his expulsion. His father, instead of reprimand, calmly asked about his future plans. Tezzus’s resolute answer: "I’m gonna be a rapper, bro." This declaration set his path. His father, a figure of surprising support, bought him a CD player and three discs of beats. During his suspension, stripped of phone privileges, Tezzus immersed himself in his craft. "I used to write all day," he remembered, "I write raps and I studied like kings and conquerors."
Diamond‘s artistic roots were similarly nurtured by familial influence, though with a different creative bent. His father was a poet, and Diamond initially attempted to follow in his footsteps, grappling with the nuances of poetic expression before discovering how to seamlessly meld words with rhythm and beat. His musical journey truly began after completing 12th grade, marking a conscious pivot towards the world of sound.
Tezzus’s listening habits evolved with his age and experiences. His father’s affinity for Tupac instilled an early appreciation for lyrical depth. However, Tezzus soon gravitated towards Lil Wayne, captivated by his innovative flow and boundless creativity. Middle school marked a deep dive into the burgeoning Atlanta sound, with artists like Johnny Cinco, Rich Homie Quan, and, crucially, Young Thug dominating his rotation. The notorious fallout between Thug and Wayne presented a moment of allegiance for Tezzus. "Hell no. I gotta ride with the city," he declared, solidifying his loyalty to the vibrant sounds emanating from his hometown. By high school, his focus narrowed intensely. "I went mute on the world," Tezzus stated, reflecting a period of profound self-dedication. "I’m like, I’m going to be the greatest."
Achieving that greatness, however, required a fundamental shift in his life. "I kept getting in trouble and kept getting locked up," he confessed. This realization, shared with Diamond, spurred a collective effort towards self-improvement. "Me and Diamond did so much to try to get righteous, bro." This transformation manifested in tangible ways, including a conscious decision to refrain from using the N-word in both conversation and their music for two years. "We didn’t rap with it. We didn’t say it at all. We took it completely out of our vocabulary." The intent behind this drastic measure was profound: "to find any sense of strength and power and just being Black."
Tezzus applies similar deliberate thought to his vocal artistry. Diamond* recently noted Tezzus’s expanded vocal range and versatility, a development Tezzus credits to studying Young Thug’s storytelling prowess. "Every time he say a story that somebody said, he try to talk like them," Tezzus explained, highlighting Thug’s ability to embody characters through vocal inflections. "You got to try to say it in their tone and, like, you gotta kind of paint the picture when you’re an artist." This meticulous approach to performance underscores his dedication to his craft.
For Diamond, collaborating with DJ Holiday was a childhood dream realized, fulfilling an ambition born from years of absorbing mixtapes. He harbored a particular admiration for Holiday’s work on Chief Keef’s Bang 2*. "It was like a childhood checklist," he mused. He respects Holiday not only for his musical contributions but also for his enduring connection to the community: "He’s still in the streets. He’s still for the people."
Another deeply personal milestone for Diamond unfolded at Magic City, the legendary Atlanta club located just down the street from where he grew up. He used to walk past it on his way to work, a silent observer of the foreign cars pulling up, envisioning a future where he too would be among the successful patrons. "I look at all the foreign cars at the front," Diamond reminisced, "I’ll take over this one day." When he finally got to celebrate there, surrounded by those who remembered his earlier struggles, it was a moment of profound vindication. "First of all, I’m with the same people that I struggle with," he expressed, "We around some of the most gorgeous women in the country."
Tezzus, too, finds himself in moments of deep gratitude, often comparing his vivid reflections on his past to the prophetic visions of the TV show That’s So Raven. "You ever seen That’s So Raven when she go see the future?" he asked. His own "visions," however, transport him backward, allowing him to truly appreciate his journey. "I really get the moments and I see the past and I see how far I came. And I’d be so grateful. And I’d be so happy," he shared, his voice imbued with sincerity. "And I be so grateful for everybody around me. Like, I really love my friends, bro. I really love my family. I really love my mama." He has observed a striking correlation between expressing his love for his family and the expansion of his audience. "Every time I fucking make a song about my mother" and shouts "ÜWay," he noted, "I get bigger. And I love my mama and I love my crew. So, like, that’s beautiful, right? Thank you God." At the time of the interview, he eagerly anticipated an upcoming Atlanta concert where his mother would witness his performance live for the very first time – a significant milestone for an artist whose mother already fiercely defends him online. "I’d be like, ‘Mom, stop,’" he chuckled.
Tezzus credits Diamond* with initiating what he affectionately calls a "home for the homeless," a powerful metaphor for the extended family they’ve cultivated. Maintaining harmony among 14 individuals on tour is no small feat. While both artists acknowledge that disagreements, and occasionally even physical altercations, can arise, they affirm that open communication usually resolves any conflicts. Tezzus’s resolve remains unwavering: "We’re doing this shit our own way."
Beyond music, Tezzus harbors aspirations that extend into the realm of pop culture. With a playful yet earnest request to Hollywood, he interjected, "Marvel, put me in the movie, please. I’m ready. I’m a fucking dragon, kid." His fascination with epic narratives is deep-seated; he’s watched Game of Thrones an astonishing 10 times in a single year. While he enjoys House of the Dragon for its exploration of the creatures’ true power, he still holds a preference for the original series. This dragon motif is more than just a pop culture reference; the prominent dragon tattoo on his face holds profound personal significance. "I was born in the Year of the Dragon," he explained, "That’s why I initially got it tatted in my face." He vividly recalled livestreaming the tattoo session a few years prior, to an audience of only six viewers. "Look at me now at Rolling Stones," he declared, a testament to his incredible journey and the potent symbolism of the dragon.
Tezzus and Diamond* represent a compelling new chapter in Atlanta rap, one built on talent, relentless work, and an unshakeable commitment to the family they’ve forged. Their story is a powerful reminder that in an industry often defined by fleeting trends, true longevity is found in loyalty, authenticity, and the unwavering pursuit of one’s own "ÜWay."
