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City Morgue in Atlanta at the Masquerade

Written By | Jeremiah Rafferty

Debuting at number 1 on the Billboard Top R&B/Hip Hop albums and Apple Music rock albums charts with their sophomore album City Morgue Volume 2: As Good As Dead, things are looking pretty promising for Zillakami and SosMula of New York Rap/Rock group City Morgue. Not to mention bringing in the year with five sold out shows, including Atlanta, 2020 is shaping up to be their year.

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The group rose to prominence when the video for their two singles “33rd Blakk Glass” and “Shinners 13” went viral for their disturbing, gritty nature, and rambunctious, hardcore metal sound. The duo brought in the third show of their As Good As Dead tour sold out at Atlanta’s Masquerade on the “hell” stage; pretty fitting for the group I might add.

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Their first opener, fellow New York rapper NYCL KAI, brought an insane amount of energy to the crowd, front flipping into the audience at the beginning of his intro. He carried on his set performing songs from his self titled debut EP, and finished off his set by climbing up to the upper level of the Masquerade and performing.

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Following his performance was Florida rapper Tokyo’s Revenge, who brought an equal amount of energy and passion in his performance, as well as entire entourage on stage. He performed his breakout single “GOODMORNINGTOKYO” as well as songs from his recent EP MDNGHT.

View more photos of City Morgue HERE

Once City Morgue’s Zillakami and SosMula graced the stage, the crowd went into total anarchy. The duo performed several tracks from their sophomore project such as their hit singles “Draino” feat. Denzel Curry and “The Balloons” as well as the songs from their debut City Morgue Volume 1: Hell or High Water. The audience went into a complete mosh frenzy for the duration of their performance. Atlanta rapper “Germ” had even made an appearance in the middle of their set. The Morgue closed out the show with a performance of one of their breakout singles, the aforementioned “33rd Blakk Glass”. 

Photos By | Jeremiah Rafferty

See more of Jeremiah Rafferty’s work HERE