Instagram/@realericabanks
Officially, producer Julian Horton announced the new single and music video for rapper Erica Banks, entitled “Gon Head Buss It.” On all platforms for releases, the track finds itself docking another daring entry into Banks’ discography, with its signature aggressive flow and assertive lyricism. Horton’s promotional post sparked a whirlwind of reactions amid passionate debates concerning the effect of the song and the place Banks holds in the current rap realm.
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The announcement was accompanied by a video clip full of energy matching that of the song. In the transcription, classic Bars from Banks are heard, “I ain’t shit that I can’t do cuz I’m a freak where he be cowlin’ here,” and, “I’m the baddest bitch he know, he don’t even deal with these bitches,” conveying defiance. That very hard approach is what describes the style of her musical trademarks, and this new pounding release seems to go even further in that direction. Ecstatic of the work, Horton captioned the post, “Ladies and gentlemen, Erica Banks.”
An immediate range of reactions ensued, dividing the audience but fully engaging it. Most were triumphantly all in agreement that the track was a return to form. One user cried out, “This is one of her hardest verse WDF.” A fervent way of Internet slang to say were overwhelmed in a good way. Another one read, “Verse, song, video… all immaculate,” which simply means it was perfect on every level. Another Elon-spirited supporter defended, “Erica really harder than a lot of female rappers out. Song,” which in turn another agreed upon in replies. “No Cap.”
Though it was mixed, the reception was far from negative. Being controversial is Banks’ almost natural state, with her music that also draws foul criticisms. The naysayers entered in: “Ain’t nobody checking for that ‘everything sound the exact same way bullshit’ she be dishing, like leave it at ‘BUSS IT’ and go, we ain’t cared since. And that was her first track.”The back-and-forth among these face-off-commenters blew when somebody checked the critic’s profiles and remarked, “just checked your profile wooooooooh I see why you talk nasty about others” and observed that the SoundCloud link therein was bogus. In retribution, the initial critic quickly defended his self-interest by giving a working link to their own music and claiming: “I CAN actually RAP RAP and WRITE WRITE,” turning the comment section into a brief battleground for artistic credibility.
Lighter and more funny comments floated amid the serious debates. One user sang praises by hilariously mishearing the title, typing it over and over again as, “gone head bussy. gone head bussy. gone head bussy. or however the song go.” Then came the laugh track: “Gon head bussy crazy,” with the original commenter admitting, “let me stop trolling.” Another commenter leaned into the effect of the performance: “I love this song. Had me shaking my lil booty,” implying huge dance vibes from the track. One more comment called out production detail: “Love yo flo as always, but ole boy in the background annoying.” This proves that, even when celebrating, little things can catch a listener’s attention.
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Erica Banks became a national name through her viral smash ‘Buss It.’ The song was a social media phenomenon that set Banks as an artist to be reckoned with next. Next drop ‘Gon Head Buss It’ looks like a sort of spiritual sequel trying to re-kick the viral energy and assertive spirit. The joint between veteran producer Julian Horton tagging the post #J12 and #Timo is perhaps an ongoing operation to forge her signature sound. There exist rabid supporters for whom she is “harder than a lot of female rappers out.” For every one critic who says her style has gone repetitive, the release of ‘Gon Head Buss It’ is a whole lot more than a track: It’s the here and now in which Erica Banks is putting her foot down, and she is not about to be ignored. She recently appeared on the Lip Service podcast to discuss her career.