Steven Malcolm makes faith-driven hip-hop that’s as unique as his multi-cultural background.
It’s a sound grounded in rap’s rhythmic delivery, pop’s modern melodies, and God’s word, glued together by an artist whose music has earned five Dove Award nominations and more
than 44 million streams.
There’s a celebratory swagger to songs like 2021’s “Glory On Me” — a sense of triumph that comes from more than Malcolm’s ability to blur boundaries between Christian music and urban R&B. Beginning with a gospel refrain and building into a hook-filled hip-hop track, “Glory On Me” finds Malcolm glorifying his maker and lifting up his audience. Call it an anthem for a world in need of a break, or a Sunday-morning spiritual filled with Saturday-evening energy. He wrote the song during the Covid-19 pandemic that threatened countless lives across the globe, choosing to focus not on the challenges of the present, but on the promise of a better future. Rowdy and redemptive, “Glory On Me” is Steve Malcolm at his best, connecting the inspirational tone of worship music with rapid-fire rhymes, deep-seated beats, and a smoothly soulful refrain sung by collaborator Taylor Hill.
“It’s a song about the glory of overcoming obstacles,” says Malcom. “We all go through discouraging times, but there’s always light at the end of the tunnel. God remains in control, and he’s always going to be there to claim that victory over darkness.”
Steven Malcolm’s messages of hope and redemption come from his own experience. Raised in western Michigan and coastal Florida, he grew up in search of stability. His father, a native Jamaican who’d emigrated from Montego Bay, was deported back to the Caribbean when
Steven was just 10 years old. He passed away before the two could reunite. Steven’s mother struggled as a single parent and eventually left town, too, leaving Steven to fend for himself as a young college student in Grand Rapids, Michigan. His life lacked a clear direction until he
accepted a friend’s invitation to attend a local church service that incorporated hip-hop, dance, and worship.
That church — the Edge Urban Fellowship — changed Steven’s life. It gave him a community, as well as a place to make message-driven musician. Between performances with the church’s worship team, he finished work on his independent debut album, Monster’s Ink, which became an underground success. Before long, Steven’s loyal following had extended far beyond the Midwest and attracted attention from major labels. He signed with Word Entertainment, a division of Curb Records, becoming the first rapper on a roster filled with the musical
heavyweights of the faith-based world, including Needtobreathe, Switchfoot, and for King & Country.