Rappers from the South are often subjected to the greatest disapproval when hip-hop aficionados start doing intra-cultural critiques. The embodiment of “bad” hip-hop comes in the form of a rapper named Lil’-So-And-So who talks about his car and bejeweled teeth while residing in one of the former Confederate states. Mind you, many of those making such claims also have a hard time conceptualizing the existence of anything beyond the Hudson River. That’s why when Little Brother made their initial impact in 2002, jaded Northerners started to question their preconceived notions.

Based in Durham, North Carolina, Little Brother started as a trio consisting of producer/DJ 9th Wonder and rappers Phonte and Big Pooh. After creating a buzz in the Research Triangle area, their debut, The Listening, got big endorsements from tastemakers like The Roots’ ?uestlove and BBC Radio 1’s Gilles Peterson. Those seals of approval helped attracted fans and garner them rave reviews as being a throwback to the good ole days of early 1990s hip-hop with 9th’s Pete Rock-esque beats and emcees who seemed more interested in having an enjoyable time than getting rich by any means. While some listeners’ could perceive that Little Brother was slighting their Southern brethren, the group asserted they weren’t exactly in step with the hip-hop bohemian types. On “The Yo-Yo”, Phonte expressed his desire to kick Trick Daddy verses during the next open mic poetry night in what had to be one of the best lyrical jabs at the “smarty-art” segment of hip-hoppers who tended to discount the South.

Following The Listening’s critical success, all three members took on side projects. 9th Wonder produced tracks for the likes of Destiny’s Child and Jay-Z. Phonte collaborated with Dutch producer Nicolay under the moniker The Foreign Exchange and released the highly-regarded Connected. Big Pooh’s Sleepers album helped him step out from the shadows cast by his Little Brother counterparts. In 2005, all three got back together for The Minstrel Show. Despite getting good reviews and decent indie-level sales, the move from minor to major label and all the expectations that come with it led Atlantic Records to drop them. Not that long after, it was announced that 9th Wonder was leaving the group to focus on producing.

Despite changes, Phonte and Big Pooh have built enough cache to persevere. This fall they’ll drop Getback. When Phonte released the proposed tracklisting, fans decried the appearance of one guest rapper in particular: Lil’ Wayne. How could a group held in such high esteem allow themselves to be within five feet of one of the people who helped “bling bling” become common terminology? Quite similar to 2002, Phonte checked would-be critics by essentially saying, “Hey, if you don’t like it, it was nice having you as a fan.” That statement took some fortitude but spoke to why Little Brother is good for hip-hop. While having a reverence for hip-hop’s past, they also understand the importance of its totality and aren’t afraid to call self-appointed protectors of “real” hip-hop for their shortsightedness.

Little Brother performs at Sonar, tonight at 8 p.m., $15.