Migos Credit: David Rams

Atlanta rap trio Migos have experienced a lifetime of music industry ups and downs in less than half a decade. Rappers Quavo, Offset, and Takeoff first made it through the buzz of their breakthrough 2013 sensation, “Versace,” surviving a Drake remix that felt less like a cosign than a jump on something hot. They held their ground in Atlanta’s fickle, rapidly evolving hip-hop scene—still the apple of the country’s eye—long enough to drop 2015’s Yung Rich Nation through Atlantic, 300, and heavy hometown indie Quality Control. Later it looked like they’d doomed themselves by betting it all on the dab, pledging allegiance to the Atlanta dance long after most teens had given up on it and even as Paul Ryan began to catch on to it. Then, in January, Donald Glover’s outstanding FX series Atlanta, which prominently featured the members of Migos in an episode, won the Golden Globe for Best TV Series, Musical or Comedy—and Glover changed the group’s fortunes during his acceptance speech, saying, “I really wanna thank the Migos, not for being in the show, but for making ‘Bad and Boujee,’ that’s the best song . . . ever.” Like the other great cuts off January’s Culture (Quality Control/300/Atlantic), “Bad and Boujee” gets its power from Migos’ melodic, acrobatic rapping, which bounces atop a deceptively simple instrumental like a handful of rubber jacks let loose upon a trampoline.   v