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Charlamagne Tha God giving Future his flowers provides the intro for disc No. 2. The brash radio personality credits Pluto’s influence with rappers imitating his style in and out of the booth. It’s unfair to compare this intro to the rest of the actual songs on the album.

Future isn’t shy about his drug-dealing past as he shrewdly refers to the upgrade going from serving grams to winning Grammy Awards. An attention-to-detail enthusiast, Metro’s sound effects feel as if he’s scoring an intense movie scene with Future serving as the nervous narrator of a police drug bust.

It wasn’t always omakase and G5 jets to Turks and Caicos as Future takes it back to the trap to remind fans about his days hustling in the slums and the dangers that came with it. He delivers the ultimate NYC flex that every Big Apple resident will understand: “I’m sellin’ out the Madison Square, you’re sellin’ out the Barclays [Center]!” Lil Baby pops up for a lukewarm assist that gets swallowed in the depths of the cavernous album.

It’s a victory lap for Young Metro and Future on disc No. 2. After spending an hour of flexing his baseball lineup of women and opulent trips across the globe, Future somehow gets away with grumbling about his struggles that nobody can relate to. Pluto puts his world travels to use while rhyming in three different languages (Spanish, English and Arabic). Although he gets a bit lazy with a cheeky diabetes bar: “I’ll shoot you myself like you got diabetes!”

Young Metro can lace Future with just about any type of production and Pluto’s going to make it work. Their chemistry is seamless — like a quarterback throwing the ball to a certain spot knowing his receiver is going to be there. The dark synths and distortion give “Always Be My Fault” a grungier tone with Future’s croon and The Weeknd is back using his voice as a soothing instrument before tapping into his rapping side. “Played with my heart like a cello/ Made you cry in falsetto Cut you off like giallo/ Girl, I told you that this s–t is like an opera to me/ Oh, I’ll turn your love to tragedy,” he sing-raps.

Metro never wastes a beat and his starry production shines more than Pluto’s raps on “Out of My Hands.” Future leans into his mob ties and completely emasculates an opp by threatening to have sex with his sister and treat her like a hooker. “Grab on your pistol, n—a, I f–k your sister, n—a, treat her like a hooker, n—a,” he raps menacingly.

Future turns a woman’s carnal admission of wanting to go for more rounds even right after they finish into a slippery chorus, which is amplified by Chris Brown ad-libs. Pluto paints a luxurious picture of life most can’t relate to while touching on overseas bank accounts and mink couches on marble floors. “We out in Abu Dhabi/ Foreign b—-s bringin’ in more exotic b—-s/ I’ma throw a thotty party,” Future flexes on the competition.

Metro impresses with a muffled beat built around sampling Brownstone’s Grammy-nominated “If You Love Me.” Future flips his appreciation for good girls but love for “bad b—–s” into a catchy chorus. He gets back to his toxic romantic ways. “Let’s gеt so drunk we forget to f–k/ I need an excusе to wake up next to you/ Let’s do some X so we can feel in love,” Future suggests.

This isn’t an ode to Michael Jackson’s anthem of the same name. Future gets tired of a certain girl around him and tells her to hit the road. The ominous production makes for the perfect spot for a guest feature and some fans were hoping Kendrick Lamar would return like the Undertaker at Wrestlemania XL.

Per Genius, “This Sunday” was actually recorded in 2015 and leaked not long after. Drake ended up interpolated parts of the syrupy chorus sung by Future for his Views fan-favorite “Feel No Ways,” which Pluto is credited as a co-writer on. The 6 God’s sequel gets a rare edge over the original.

Closing the book on We Still Don’t Trust You, Future takes it back to the streets and credits his upbringing for making him into the monster he is today. Former NBA baller Steve Francis even gets his first rap shout-out in years. “We ain’t spoon-fed, n—a, wе came up serving fiends/ Hit my targеt every time, it’s like I’m shooting a beam/ Riding Bentley presidential, I’ll give a n—a his wings/ The street made me a king,” he declares with the crown.

Future cathartically pours his heart out for a woman about how she needs her to be with him and Metro goes ahead to create a paradox by mixing in a sample of Three 6 Mafia’s stripper-centric “Dancin’ On a Pole.” “Nights Like This” appears to recall Travis Scott’s “Impossible” as it ultimately falls somewhere in the middle of the pack of the album.

Metro pushes the pace with more uptempo production and creates some chaos but Future is never knocked off his square. This feels like a throwback to mixtape Pluto when he went on a dominating run putting the rap world on notice.

Future runs a marathon going through all of the things he finds “Amazing” in life for the We Still Don’t Trust You interlude, especially girls’ lesbian tendencies. The intoxicating track was reportedly recorded at Kanye West’s house and leaked in 2017, but Future takes things into a different lane than Ye exuded on 808s & Heartbreaks‘ “Amazing.”

It’s a sensory overload for Pluto. The Atlanta trap star rides the twitchy production while admitting he’s never going a day sober. Whether he’s popping pills or stirring up lean, it’s just another day in the life of the Freebandz CEO. However, his final line perfectly encapsulates the project’s theme. “I might say I love ya, but I definitely don’t trust ya,” he opines.

If Future’s pulling up to your party, he’s only got two things on his agenda: showing off his designer wardrobe for fashionable fit pics and letting the world get a look at his new arm candy. Pluto operates on a different frequency of life as he brags “I’m not your ordinary trap n—a” while jumping from lunch by the ocean in St. Tropez to admitting he got too high and forgot about his aunt’s funeral.

A surprising guest appearance by Ty Dolla $ign, who has proven to be a cerebral collaborator throughout his career. Future takes the reins over strings and a pitched-up vocal sample, where he shows some pop-culture awareness with a hilarious reference to NFL legend Terrell Owens famously crying during a press conference while defending his quarterback Tony Romo. Instead, Pluto flips it into how he won’t be shedding tears over any woman.

Future and his infantry of women make up his “One Big Family.” They hail from all across the globe and Pluto gives listeners a peek into his world while juggling the entertainment and stress that comes along with having a football team of partners. It’s not quite DMX’s legendary “What These B—–s Want” but it gets the job done.

An early We Still Don’t Trust You standout. Future caves to his predilection for women and attempts to flatter a certain love interest by comparing having sex with her to being in heaven. R&B Future puts his cape on to save the day. After hitting the jeweler, Pluto sheds his toxicity to win her over with a love song. “Treat you with care, I can’t be careless/ I get so jealous, might just panic/ Keep seeing your body, taste like candy/ I wanna love you, not be managed,” he testifies.

The stripped-down production lets Future take centerstage as he croons about dishing out a Mile High Club membership to a girl who got him tatted on her. However, he didn’t realize how much it would hurt to have her move on to another man. “Mile High Memories” essentially serves as a sequel to Monster deep cut “Throw Away.” “In the other room, on the phone, you was texting me/ You can f–k on him as long as you think about me,” Pluto warbles.

There’s a lot to unpack here. Seven minutes of smooth raps with Future passing the baton at halftime to J. Cole. Unfortunately, Cole’s appearance will be remembered for guesting on Pluto’s album less than a week after waving the white flag and apologizing to Kendrick Lamar for dissing him on “7 Minute Drill,” which he created because of We Don’t Trust You‘s “Like That.” Even if Cole recorded his pacifist verse before Kendrick’s nuke, approving this appearance is an incredibly puzzling move on the chessboard. It’s been a confusing week for the Dreamville CEO.

Future and Metro kick the Lamborghini into another gear with track No. 11 turning things up a few notches. “Right 4 You” feels as if it could’ve been produced by Kanye West, whom Metro has cited as an influence on his craft in the past. Young Metro appears to utilize taiko drums, which Ye first introduced to his fans with 2008’s numbing “Love Lockdown.” R&B Pluto gets into his bag to flex his vocal range. “Lonely road to the end of our love/ I can’t let you go,” he slurs.

Metro supplies the old-school R&B vibes that could’ve provided the soundtrack to babymaking sessions decades ago. Motown Future is in his lover era and warbles about singing to woo a lover while The Weeknd makes another appearance to steal the show like Future and Metro have the Canadian superstar on a retainer. However, his spiritual assist is sidetracked by speculation he was adding to the flavor of the month, dissing Drake.

“They could never diss my brothers, baby/ When they got leaks in they operation/ I thank God that I never signed my life away/ And we never do the big talk/ They shoot us, makin’ TikToks,” he sings.

An A$AP Rocky appearance?! Flacko has been working extensively with Metro Boomin and he finds a snug pocket to turn the fiery song into his own. Fans had a field day on social media speculating that the Mob frontman was adding his name to the list of rappers taking shots at Drake.

“N—-s in they feelings over women, what, you hurt or something/ I smash before you birthed, son, Flacko hit it first, son/ Still don’ trust you, it’s always us, never them/ Heard you dropped your latest s–t/ Funny how it just came and went,” Rocky raps.

First off, it’s bold of Rocky to diss Drizzy’s albums as someone who hasn’t released a body of work since 2018. Secondly, some thought he was talking about Rihanna but it appears Rocky is referencing smashing Drake’s baby mother, Sophie Brussaux, who he was reportedly tied to before the 6 God.

Future and Metro Boomin ease listeners into We Still Don’t Trust You with the album’s cinematic title track. Soft drums and a beeping noise that sounds like an EKG heart monitor set the stage of what’s to come on this blockbuster with Future repeating the intro title before The Weeknd’s ominous croon invades the premises. Abel flexes his stadium status on tour as arenas are long in the rearview. “And the stadium was where I feel at home/ I forgot the feeling of arena shows,” he boasts.