B-Side Guys

Sacred spaces cast long shadows. On “bars on the ground,” Pittsburgh artist mary richardson confronts this reality directly—recording at ID Labs, the same studio where hometown hero Mac Miller created “Blue Slide Park.” This geographical and spiritual connection infuses the track with potent subtext that enriches its already substantial sonic appeal.

The production establishes immediate contemporary framework through crisp percussion and atmospheric elements, creating foundation for richardson’s confident vocal delivery. What separates the track from standard hip-hop fare is its tonal complexity—moments of celebratory flexing (“Got the charter for the crew/Okay!”) existing alongside more introspective observations. This emotional range creates engaging tension that prevents the composition from settling into predictable territory.

Lyrically, richardson demonstrates impressive technical versatility through shifting flow patterns and internal rhyme schemes. Lines like “Low county boy throw the rosin on the fiddle/All he do is shoot I mean the kid can’t even dribble” showcase ability to maintain rhythmic momentum while incorporating vivid imagery and cultural references. This approach creates conversational quality that enhances the track’s immediacy without sacrificing compositional craft.

What gives “bars on the ground” particular resonance is how it incorporates luxury rap conventions while subtly subverting them. The chorus observation that “They got bars in the sky but our wheels are on the ground” functions simultaneously as play on the title and philosophical statement—suggesting grounded authenticity against ethereal posturing. This thematic thread runs throughout, with richardson positioning himself as observer comfortable in elevated settings (“Table in the corner is where I’d like to sit”) rather than center-of-attention performer.

The Mac Miller connection provides crucial contextual depth that transforms the track from mere enjoyable listening into something more poignant. When richardson describes recording in Miller’s booth as “a bitter and lonely feeling to walk where Mac did without him here anymore,” he acknowledges artistic inheritance while honoring individual paths. This awareness of lineage without imitation demonstrates creative maturity that transcends typical influence dynamics.

richardson’s eclectic musical tastes—citing Conway Twitty, Fleetwood Mac’s “Tusk,” and Frank Ocean’s “channel ORANGE” as top three albums—manifests in the track’s genre-fluid approach. Country music’s storytelling tradition, Fleetwood Mac’s atmospheric experimentation, and Ocean’s emotional vulnerability all find subtle expression within contemporary hip-hop framework. This diverse foundation creates distinctive artistic perspective that resists easy categorization.

For Pittsburgh’s hip-hop scene, “bars on the ground” offers compelling evidence that the city’s musical tradition continues to evolve through artists unafraid to honor their predecessors while charting distinctive creative territories that remain firmly rooted in authentic experience.