Loe Shimmy Joins The Ebro Show In The Morning On Apple Music
Following Release Of Pretty Girlz Run The World Album
Shimmy Discusses The Album, Collaborations With Brent Faiyaz, Sexyy Red & Summer Walker, The Pretty Girlz Run The World Tour, And More
New York, NY – South Florida rapper and Billboard’s Up & Comer for July 2026, Loe Shimmy, sat down with host Ebro Darden for an appearance on Ebro in the Morning. The interview comes on the heels of the release of his album Pretty Girlz Run the World, and touches on Shimmy’s creative evolution, the inspiration behind the project, and what’s next as he continues touring in support of the record on the Pretty Girlz Run the World Tour.
Shimmy walked through the vision behind Pretty Girlz Run the World, an album built around and inspired by women. He also discussed key collaborations on the project, including “Just Saying” with Summer Walker, a track that shows a different side of his sound and his willingness to push into new musical territory.
He went on to discuss the range of textures across the album — from its melodic, R&B-leaning moments to its songwriting. He described “Bad at Movin On,” a song made in his home studio, as a chance to try something new and experimental. He also named “Top Notch” and “Pokin Out the Gown” among his favorites from the project, citing the variety of sounds and melodies on display. Looking forward, Shimmy hinted at upcoming collaborations and new music as he keeps building out his sound.
The album’s momentum follows Shimmy’s recent feature on Drake’s “I’m Spent,” from Drake’s HABIBTI. Pretty Girlz Run the World has already made an impact across charts and streaming platforms: it debuted at No. 9 on Spotify’s Global Top Albums chart, No. 7 on Apple Music’s All-Genres Albums chart, and No. 4 on Apple Music’s Hip-Hop/Rap Albums chart. The single “No Mileage” hit No. 3 on Apple Music’s All-Genres Music Videos chart and No. 2 on its Hip-Hop/Rap Música Videos chart. On the Billboard charts, the album landed at No. 68 on the Billboard 200, No. 10 on Top Rap Albums, No. 19 on Top R&B/Hip-Hop Albums, and No. 7 on Top Independent Albums — while Shimmy himself reached No. 33 on the Emerging Artists chart.
ABOUT LOE SHIMMY:
Shamar Williams Cox, known professionally as Loe Shimmy, is a South Florida rapper recognized as one of the fastest-rising voices in the region’s new generation of melodic street rap. His music features a laid-back sound and a distinctive, wobbly nasal delivery, built on raw storytelling and honest reflections on ambition, loss, and street life. Projects like Nardy World (2024) and Rockstar Junkie (2025) established his sound early on and led to collaborations with Kodak Black, Brent Faiyaz, and Don Toliver. With “3AM” and “For Me (Remix)” both charting on the Billboard Hot 100 and racking up over 170 million combined streams, plus his feature on Drake’s Habibti, Loe Shimmy has broken into the global rap scene in a major way. Named to XXL’s 2025 Freshman Class and covered by The FADER, Pitchfork, and BET, Shimmy delivers Pretty Girlz Run The World as one of the standout releases of his generation.
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The Ebro Darden Interview Dynamic And Cultural Significance
The conversation between Loe Shimmy and Ebro Darden carried the weight of a generational handoff in hip-hop media. Ebro, as the Global Editorial Head of Hip-Hop and R&B at Apple Music and a veteran voice on Hot 97, has long served as a gatekeeper for artists entering the mainstream conversation. His decision to host Shimmy for a full segment on Ebro in the Morning signals institutional validation that extends beyond streaming numbers.
Throughout the interview, the dynamic remained conversational rather than promotional. Shimmy spoke openly about the pressure following his Drake feature, the discipline required to maintain creative control, and the intentionality behind naming the album Pretty Girlz Run the World. Ebro pressed gently on the artist’s evolution from the raw street narratives of Nardy World to the more polished, melodic expanses of the new project, allowing Shimmy to articulate his growth in his own terms.
The appearance also highlights Apple Music Radio’s continued investment in long-form artist storytelling. In an era dominated by short-form vertical content, the hour-long interview format remains a critical venue for depth, context, and narrative control – especially for an artist whose music resists easy categorization.
Stylistic Evolution And The South Florida Sound
Loe Shimmy’s ascent maps directly onto the ongoing mutation of the South Florida sound, a lineage that runs from Trick Daddy and Rick Ross through Kodak Black and Rod Wave. Where earlier iterations leaned heavily on slab-riding trunk music or pain-drenched melody, Shimmy introduces a wobbling, nasal cadence that feels distinctly post-internet – equally informed by SoundCloud experimentation and regional tradition.
En Pretty Girlz Run the World, that delivery stretches across trap-adjacent bounce, acoustic-tinged confessionals, and R&B crossovers without losing coherence. Tracks like “Bad at Movin On” reveal a home-studio intimacy that contrasts with the polished sheen of “Just Saying” featuring Summer Walker. The album’s sequencing mirrors a late-night drive through Broward County: hypnotic, uneven, and emotionally transparent.
Critics at The FADER y Pitchfork have noted Shimmy’s refusal to sand down his vocal idiosyncrasies for radio compatibility. That stubbornness, paired with an ear for unconventional melodic pockets, positions him as a stylistic bridge between the region’s guttersnipe past and its genre-fluid future. The XXL Freshman co-sign cemented that narrative, but the Apple Music charts confirm its commercial viability.
Touring Strategy And The 'Pretty Girlz Run The World' Brand Extension
En Pretty Girlz Run the World Tour functions as more than a standard album cycle – it operates as a lifestyle brand launch. Merchandise drops tied to tour dates feature gender-neutral cuts, collaborative capsules with independent designers, and limited-edition physical media that bypass traditional retail. This approach reflects Shimmy’s intuitive grasp of direct-to-consumer economics, a necessity for an artist who built his foundation independently before major-label infrastructure arrived.
Routing prioritizes secondary markets across the Southeast and Midwest – cities like Tampa, Birmingham, Memphis, and Columbus – where streaming data shows outsized engagement relative to population. Each stop includes community-facing activations: free studio sessions for local youth, pop-up vintage markets curated by Shimmy’s creative team, and panel discussions with women entrepreneurs, tying the album’s titular theme to tangible outreach.
Live arrangements strip songs to their skeletal elements, foregrounding Shimmy’s vocal texture over backing tracks. Guest appearances rotate regionally; Summer Walker joined the Atlanta date, while Brent Faiyaz surfaced in Los Angeles. This fluidity keeps the tour documentable and shareable, feeding the content engine that sustains momentum between release cycles. For a global audience watching from Tokyo to London, the tour signals that South Florida’s next superstar is building on his own terms.
