Billionhappy Reigns as the Unofficial King of China’s "Nu China" Rap Scene

Billionhappy joins our call from a golden throne in his Shanghai home, a velvet hoodie half-pulled over his pink braids. “I bought this chair to remind myself that I am king,” he says. In terms of China’s musical underground, at least, he’s not wrong: the rapper is the figurehead of a radical new movement which international record label Eastern Margins dubs “Nu China” – a rallying cry for China’s global-facing, tech-savvy young people. This emerging scene represents a significant cultural inflection point for a generation grappling with rapid societal change, technological saturation, and a unique historical context that has shaped their artistic output.

The Genesis of "Nu China": A Delayed Cultural Bloom

The narrative of "Nu China" is intrinsically linked to the broader trajectory of Chinese society. Unlike Western nations, which saw the emergence of distinct youth subcultures fueled by relative economic stability and burgeoning middle classes in the latter half of the 20th century – from the countercultural movements of the 1960s to the rave culture of the 1980s and 90s – China experienced a period of significant cultural isolation. For much of the 20th century, the import of foreign music was heavily restricted, and early iterations of Chinese pop music in the early 2000s often served as imitations of more established scenes in neighboring countries. "China lagged behind Taiwan, but Taiwan lagged behind Japan, and Japan lagged behind America, you feel me?" explains 26-year-old Billionhappy. "China was very, very behind."

This historical lag, however, was dramatically bridged by the advent of the internet. Early Chinese internet users, often referred to as "internauts," began employing Virtual Private Networks (VPNs) to circumvent national web restrictions. This opened a digital floodgate, allowing for an unprecedented influx of international music influences. The vastness of the online world flattened music’s historical and geographical boundaries, creating an infinite scroll of references. From foundational rap artists like 50 Cent and Lil Wayne to EDM pioneers such as Skrillex and the internet-centric artist 2hollis, Chinese youth were exposed to a global sonic palette. This exposure did not lead to mere imitation; rather, it catalyzed a process of creative fusion, with young Chinese artists gradually infusing these diverse sounds with their own lived experiences and cultural perspectives.

The Internet as a Cultural Catalyst

"In Western countries like the UK, you have subculture and history, but in China, it’s all new," Billionhappy elaborates. "Originally, we were a kingdom, and then the communists controlled the country and cut all of our history. Even my parents didn’t have pop music; that didn’t come around ‘til I was like 19. But now, because of the internet, Chinese kids can look through all this new information and, after four or five years, create something new. They looked at Korean, Japanese, American, European subcultures, but this culture is totally Chinese." This sentiment highlights a crucial distinction: while Western subcultures often emerged from established traditions and subsequent rebellions, "Nu China" is a phenomenon built from scratch, drawing inspiration from a global digital wellspring.

The rapid proliferation of internet access in China, especially through mobile devices, has been a key driver. By 2023, China had over 1.07 billion internet users, with mobile internet penetration reaching an estimated 85% of the population. This pervasive digital connectivity has democratized access to information and cultural trends, allowing young Chinese to engage with global music scenes in ways previously unimaginable.

"Chinese in Europe": An Anthem of Identity

A pivotal moment for the "Nu China" scene arrived with Billionhappy’s 2024 single "Chinese in Europe." This glitchy, EDM-infused rap track quickly transcended its genre, becoming an anthem for the millions of Chinese students and expatriates navigating life abroad. The song directly addresses the pressures and prejudices faced by Chinese individuals in Western contexts, asserting a confident national identity. "Even the most popular Chinese rappers [at the time] were pretending that they were American," Billionhappy recalls. "I would even search on [Chinese social media platform] RedNote and people would say, ‘I’m a Korean-type or Japanese-type Chinese.’ That song says, ‘Whatever style I dress in, I’m still Chinese.’”

Billionhappy himself experienced this cultural negotiation firsthand. During the pandemic, he studied menswear design at the London College of Fashion, a period that likely informed his perspective on global identity and self-expression. "Chinese in Europe" resonated deeply, offering a voice to a generation seeking to reconcile their national heritage with their global experiences. This was not merely a musical statement but a significant cultural declaration, marking a coming-of-age moment for Chinese youth culture.

The success of "Chinese in Europe" paved the way for a wave of other artists who have since gained prominence within the "Nu China" movement. This includes Taiwanese pluggnb artist R!R!Riot, Surf Gang’s first Asian signee Jackzebra, and Billionhappy’s own collective, Shabby Club. Each of these artists, in their unique ways, articulates contemporary Gen Z Chinese experiences by blending global musical influences with distinctly local sensibilities.

The "Nu China" Sound: A Deconstructed Globalism

The "Nu China" sound is characterized by its eclectic nature, drawing from a wide array of global genres while maintaining a distinctly Chinese flavor. Billionhappy describes the current moment as a "revolution," rooted in the internet but intensely local. "The Chinese youth don’t know what real Western subcultures are; they just know them from the internet. They don’t know the history or what the original versions are; they don’t give a fuck! They just do it in their Chinese way." This approach to cultural appropriation is not about mere replication but about reimagining and recontextualizing global trends within a Chinese framework.

The Rise of the Meme-ification of Culture

The intersection of underground music and mainstream appeal in China is often facilitated by the pervasive influence of internet memes. Billionhappy notes that "China is the most ‘meme’ country." This cultural phenomenon means that even unconventional or experimental music can gain traction if it possesses an element of humor or relatability that can be amplified through meme culture. "Mainstream is memes, underground is memes. So, if you do stupid stuff, it becomes a meme and, in mainstream clubs, they’ll copy it." This dynamic suggests that the boundaries between the underground and mainstream are increasingly blurred in China, driven by the rapid dissemination of content and trends online.

"Bai Lan" and the Search for Meaning

The "Nu China" scene also finds resonance with broader social trends within Chinese youth culture, such as the "bai lan" (let it rot) sentiment that gained traction a few years ago. This attitude reflects a sense of disillusionment and hopelessness among young people facing economic uncertainty and limited career prospects. "It’s because, now, a lot of kids have graduated [university], but they don’t have a job," Billionhappy explains. "Either they don’t want to work, or they can’t find work. Now, Chinese finances are getting worse, so a lot of teenagers are hopeless. They just choose to do weird stuff and have fun."

Billionhappy’s music directly addresses these anxieties, deconstructing local Chinese experiences and offering a sense of cultural confidence. "I’m doing real local, Chinese stuff. Deconstructing those experiences. A lot of Chinese people were doing this mix of hip-hop and electronic music, but they wanted to do it in a Western way. I said, ‘What’s real to you?’ I let people feel confident about their own culture and share my spirit with them. I say, ‘We are Chinese, there’s no need to hide.’ Now, loads of underground artists are finding their own way and being themselves.”

EDM’s Chinese Awakening

Billionhappy’s embrace of electronic dance music (EDM) reflects a broader trend in China. While he encountered skepticism when he first began incorporating electronic elements into his music in 2020, the influence of artists like 2hollis has helped to popularize the genre. "When I was in the UK, I really liked going to raves. In 2020, Chinese people didn’t understand what I was doing with electronic music; they thought it was kind of weird. Now, because of 2hollis, Chinese people think electronic music is cool. It’s a new era. Thank you 2hollis!" This shift signifies a growing acceptance and appreciation for electronic music within the Chinese music landscape.

Pan-Asian Collaboration and Identity

The "Nu China" movement is not confined to China’s borders; it is actively fostering connections across East Asia. Billionhappy’s collaborations with South Korean rapper Effie and Japan’s Kegon on the track "TESLA" exemplify this pan-Asian solidarity. "It’s very natural because we all know each other through the internet," Billionhappy states. "Kegon is a really good guy who wants to connect the Asian nations, because, be it Japan, Korea, or China, we all actually look kind of similar and have a similar culture. We’re all yellow people who are doing cool stuff and have the same goal. I think our future is together, which will help more people [find us]. Asian power." This vision of collective Asian influence suggests a future where regional artists can collaborate and amplify each other’s reach on a global scale, challenging the traditional dominance of Western cultural exports.

The "High-Level Stupid" Persona

Billionhappy’s online persona is as distinctive as his music. He acknowledges a penchant for what he terms "talking bullshit," a form of playful, often nonsensical communication that resonates within Chinese internet culture. He humorously explains his family collective’s name, Shabby Club, as a play on the English word "shabby" and the Chinese term "sha-bi" (stupid), highlighting a self-aware embrace of playful absurdity. "My family are stupid, but in a good way. We’re stupid together, and we just have fun. This year, I want the world to know my stupid, that’s my goal. I want to be high-level stupid." This approach underscores the "Nu China" ethos: to be authentic, uninhibited, and to forge a unique cultural identity through creativity and a willingness to experiment. The movement’s rapid evolution and the artists’ bold self-expression signal a significant new chapter in global youth culture, originating from the vibrant and dynamic landscape of China.