The first words you hear on Reaux Marquez’s No Roads haunt you for the rest of the album: “The child who is not embraced by the village will burn it down to feel its warmth.” A collection of stories anchored around the tale of a North Nashville fire, No Roads crackles with tension — between faith and freedom, community and growth, art and commerce. The recurring spoken-word mantras and jazz-flecked beats bring an easy comparison to Kendrick Lamar, but Marquez’s voice is all his own. Standout tracks like “Block Hot” and “Park” blaze with ferocious skill, with Marquez wringing every ounce of energy out of every bar. No Roads is phenomenally dense, and each listen unveils some facet you haven’t heard before. And yet, it’s also a record that prizes space. “High” and “Praimfaya” don’t end when Marquez’s verse is done. They linger for minutes, immersing the listener in feeling, ceding the spotlight to other artists (singer-songwriters Lauren McClinton and Jamiah, respectively). That’s where No Roads really shines, in its jubilant celebration of community and its willingness to let the listener lock into a vibe and stay there. It’s a record that sounds like Nashville, complex and wrought with big ideas and even bigger talent. No Roads is an instant classic in local hip-hop and a major achievement across scenes.
Best Album
