Atlanta is the cultural hub of the hip hop industry and home to some of the latest and most exciting examples of contemporary Afrofuturism. As the city's primary musical export, trap generally reads as apolitical; however, modern deployments of Afrofuturism's operational concepts by artists and producers in the genre illuminate a nuanced politics that is a sign of the times. A commercialized sub-genre of gangsta rap, trap is often overlooked as a source of valid social commentary and political critique, as a gap in hip hop and Afrofuturist scholarship would suggest. Building on previous research, this paper will establish a theoretical framework to interpret the sights, sounds, and narratives of trap music to examine how they speak to issues of race, technology, and representation. Future, Migos, and Young Thug are a few of the latest artists in a lineage of iconic figures to embrace the paradigm-shifting potential of Afrofuturism.