Meet the king of Atlanta’s next trap wave, Belly Gang Kushington. Born Victor Thomas to a White mother and Black father, BGK emerged from Atlanta’s ever-growing trap scene and caught our attention with “5PM in Atlanta.” The release stood out right away for its raw delivery and calculated lyricism.
Since then, the Adamsville-native has only accelerated his rise. Records like “Don’t Do It,” filmed in the middle of one of Atlanta’s busiest highways, made a huge impact and recently surpassed 500K views after only 11 months. The visual alone felt bold and disruptive, capturing the creativity and fearlessness that defines BGK’s movement. Clips from the freestyle quickly went viral across social media, turning timelines into debates and repost chains.
Sonically, Belly Gang Kushington pulls listeners back to the early-2000s golden era of trap, echoing the energy of Jeezy, Lil Flip, T.I., and Pimp C, while still carving out a lane that feels distinctly his own. He understands the foundation of the sound, but he isn’t trapped by nostalgia. Instead, he builds on it, proving that Atlanta’s next wave doesn’t have to abandon its roots to evolve.
Earning an early co-sign from The Boy, Toronto’s own Drake, along with endorsements from artists such as Chris Brown, J. Cole, 21 Savage, Kevin Gates, 4batz, DC Young Fly, Young Thug, YFN Lucci, Quavo, and Luh Tyler, Belly Gang Kushington is not just another name in the trap conversation, he’s actively reshaping it. Acknowledgement from some of the culture’s most respected voices is a clear sign that his presence carries real weight.
For Canadian listeners who genuinely appreciate trap and hip-hop, that alone is reason to pay attention. What makes Belly Gang stand out, however, goes beyond co-signs. Rooted in classic Southern influence yet fearless in experimentation, BGK delivers a sound that feels organic rather than algorithm-driven. In an era where overused Auto-Tune and recycled flows dominate Spotify playlists, Belly Gang leans into substance, perspective, and storytelling. His music carries the grit and hunger of Atlanta while pushing way past its boundaries, proving that trap can still evolve without losing the foundation it was built on.
As his momentum continues to build, Belly Gang Kushington has steadily expanded both his sound and his reach, developing a catalog that reflects not only his Atlanta roots but also his long-term vision for the Belly Gang movement. Records like “Introduction,” “75 on 75,” “Dopeboy,” “Do You?,” “Wafi,” “Birds Like Popeyes,” “Ice Cup,” and a newer single, “Rent Due,” showcase an artist sharpening his identity with each release. While the world of music and entertainment are beginning to take notice, ATL has already stamped him as next up, respected by the streets and embraced just as strongly by listeners beyond them.
That growth hasn’t been limited to his solo releases. Belly Gang Kushington has also used feature appearances to expand his reach and reinforce his presence in the culture. One standout example is his appearance on Bally Baby’s “Hustlin Mf Pt. 2,” a recent release that has gained serious traction across social media.
From the moment he steps in with his aggressive “Hold on, what the hell?” intro, his verse quickly demands your attention. It’s not forced or performative, it’s instinctive. His delivery and flow melts into the production while still standing out, locking into the beat with a natural presence that makes the record feel elevated the second he enters.
With the influence and chokehold Atlanta continues to have on hip-hop, it feels inevitable that Belly Gang Kushington’s sound will garner international interest. Whether through collaborations, radio rotation, or organic demand from listeners themselves, it’s only a matter of time before Canadian audiences are fully tapped into a movement already making serious noise south of the border.
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