PlaqueBoyMax is redefining the intersection of music and livestreaming. At just 21, the New Jersey native has built a massive following on Twitch and YouTube, blending his passion for Hip-Hop with unfiltered creativity. What began as casual music-making soon turned into something much bigger when he engineered Twitch streamer and AMP affiliate Chrisnxtdoor live on air. The response was immediate, and birthed his now iconic In The Booth series, which has featured guests such as Ian, Lil Baby, Will Smith, and more. After moving to Los Angeles, he expanded his reach even further with Song Wars, a spinoff series where artists including Trippie Redd, LAZERDIM 700, and Summrs compete head-to-head to see who has the best unreleased music. These series boosted his audience to over three million followers across Twitch and YouTube, earning him a co-sign from COMPLEX as “your favorite rapper’s favorite streamer.”
Following the announcement that he became the first streamer nominated for a Grammy for “Victory Lap” with Fred again.. and Skepta, your favorite rapper’s favorite streamer PlaqueBoyMax has released his latest EP TOO MUCH MUSIC — out now via FieldTripRecordings / CapitolRecords. At 7 tracks, TOO MUCH MUSIC encapsulates Max‘s creative ethos that has made him one of the internet’s most magnetic underground voices, ranging between heartfelt ballets like “FellOff” to trap-laced tracks “RealSpill” and “InTheMorning”. The project arrives as Max prepares for a co-headlining show with Kaysan this Friday at Catch One in Los Angeles, which will serve as both a celebration of the project and the community Max has built, with special guests appearing throughout the night. This EP marks another viral moment for Max in his star-studded return to streaming — a run that’s included the fan-favorite In The Booth stream with Spanish star Bb Trickz, the release of “Turn Up” (feat. BunnaB & Rakai), “YEA YEA” and “5Star” with Veeze and Rob49, the release of Fivestarcrete, a collaborative EP with Lil Yachty’s Concrete Boys, live streams with NBA champions Michael Porter Jr. and Jaylen Brown, and an In The Booth session with multi-platinum rapper Lil Baby. These singles come after a massive few months for Max, including his first-ever festival performance at Lyrical Lemonade Summer Smash, the release of his Grammy-nominated, standout single “Victory Lap” with Fred Again.. and Skepta (130M+ streams), his debut mixtape Five Forever, and its corresponding deluxe album. Five Forever originally debuted at #1 on Apple Music’s Hip-Hop/Rap chart with 9M+ first-week streams, a bold introduction to Max’s featureless sound, with his bending vocals and agile songwriting anchoring the project’s warped, futuristic feel. Back on stream, Max continues to use the platform as a space for creating and as a real-time archive of his collaborations.
PlaqueBoyMax spent 2024 pushing the boundaries of music and livestreaming, cementing his status as a powerhouse in both worlds. Lauded as “hip-hop’s must-watch streamer” by The FADER, his Twitch series In The Booth and Song Wars have become essential viewing for music and streaming fans alike, spotlighting rising talents like Nino Paid, BabyChiefDoit, and Cash Cobain while offering fans an inside look at the creative process. In March, Max took In the Booth on the road, collaborating with a star-studded roster of UK artists including Fred again.., Skepta, and Lancey Foux –– the resulting sessions formed the foundation for his debut EP LONDON. Beyond streaming, PlaqueBoyMax has collaborated with some of rap’s most exciting names –– his Christmas Day single “Pink Dreads” with DDG racked up nearly 51 million streams across all platforms and debuted at #1 on the iTunes Hip-Hop/Rap Charts. Boasting over 80M+ total streams across all platforms and nearly 2 million monthly Spotify listeners, his impact hasn’t gone unnoticed. In December, he took home the Best Creative Streamer of the Year award at the 2024 Streamer Awards and saw his audience explode to over 3 million followers across Twitch and YouTube. PlaqueBoyMax is proving that music and streaming aren’t just colliding –– they’re evolving together.
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