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“A Hunting We Will Go.”
That’s the song whose melody Omar whistles in the eighth episode of the first season of The Wire, after he baits Wee-Bay and Stinkum into an ambush, shooting the former in the leg and killing the latter. This is the tune that must’ve been ringing off in Drake’s head as he grew more and more impatient waiting for Kendrick’s rebuttal. Well, it’s finally here — and The King in the North is wounded, ducking for cover like Wee-Bay behind that car.
“Them super powers gettin’ neutralized, I can only watch in silence/ The famous actor we once knew is lookin’ paranoid, and now it’s spiraling,” is how Kenny starts off “Euphoria,” essentially confirming the speculation that he was making Drake wait on purpose.
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I’ve been one of those people preaching patience — mainly because I remember when in order to hear a diss track, you had to either go find the mixtape it was on, wait for it to be premiered on the radio or live on stage, or wait for an artist’s album to drop. A back-and-forth often took months to play out, not days or weeks. Drake took about three weeks to respond to Kendrick’s verse on “Like That,” and has since dropped two songs: “Push Ups,” directed at Rap’s Sinister Six (Future, Metro, Kendrick, The Weeknd, Rick Ross, A$AP Rocky) and the very weird and controversial “Taylor Made,” featuring AI versions of 2Pac and Snoop, which he was eventually forced to take down. And this all of this was happening while he tried to out-meme and out-funny Rick Ross on Instagram, which is a losing battle in itself. The irony of all this is “Euphoria” makes it seem as if Kendrick would have responded earlier if Drake didn’t try to bait him with gimmicks.
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But that’s all in the past. Today, Tuesday, April 30, 2024 at 8:24 AM PST (remember the Kobe line from “8am in Charlotte“?,) the King of the West pushed the button on a diss track that is six minutes and 23 seconds of pure, unadulterated hate. And let’s be clear and let the record show: Kendrick didn’t “leak” this diss record to a streamer, or leave any doubt about this track being AI. He didn’t wait to put it on streaming services on New Music Friday, or attach the song to an album rollout. No, he put the song on his YouTube page and tweeted the link out, completely owning the moment. This track is basically that Beef DVD clip of 50 Cent standing outside on a balcony speaking on Ja Rule, shaking his head in disgust and telling the camera: “I really don’t like that guy.”
There are so many things to unpack. First you have the title of the song being “Euphoria” and the definition of the word as the single artwork. I’ll spare you the Genius annotation, but we all know Drake is an executive producer on HBO’s hit show Euphoria, right? The definition can also be a nod to Lamar having a feeling of euphoria after finally getting all this Drake hate off his chest. The song starts off with backwards audio from a scene in 1978’s The Wiz, where the Wizard (played by Richard Pryor) is exposed as a phony. “Everything they say about me is true, I’m a phony…,” the Wizard says. Lamar also mentions the paranoia Drake must’ve been feeling as he waited on this rebuttal. Kenny then flips a switch and goes into overdrive, giving critics and fans what they’ve been waiting for: a real life rap battle.
He throws shots in every direction, telling the Canadian rapper all the money and power can’t stop someone from being lame. He then refers to the game of chicken he’s been playing and asks Drake, “Have you ever walked your enemy down, like with a poker face?” He’s basically saying Drake blinked first after the “Like That” verse shook up the game. He mentions that Drake buying one of Tupac’s rings and using artificial intelligence to manipulate Pac’s voice made the late hip-hop legend “turn in his grave.” And he questions Drake’s “fake tough guy” act, advising him to finish his beef with Pusha T before thinking about responding to him, spitting, “I don’t like you poppin’ s–t at Pharrell, for him, I inherit the beef/ Yeah, f—k all that pushin’ P, let me see you push a T/ You better off spinnin’ again on him, you think about pushin’ me? He’s Terrance Thornton, I’m Terrance Crawford, yeah, I’m whoopin’ feet.”
Kendrick also confirms that this battle isn’t really for fun or for the crown, it’s really about “love and hate” — revealing that he’s also secretly Drake’s biggest hater, rapping, “I hate the way that you walk, the way that you talk/ I hate the way that you dress I hate the way you sneak diss/ If I catch flight, it’s gon’ be direct/ We hate the bitches you f—k, ’cause they confuse themselves with real women/ And notice, I said “We”, it’s not just me, I’m what the culture feelin’.” He’s clearly sick of the Canadian’s sh—t and has been for a while now.
Drake’s “Push Ups” and “Taylor Made Freestyle” were solid efforts, but for my money, they didn’t hit as hard as the “Like That” verse or “Euphoria.” “Push ups” was clever and funny, and he was in a tough spot because he had to respond to like six different people. “Taylor Made Freestyle,” however, showed a chink in his armor. It came across desperate for a response, and it wasn’t very boss-like. I think it exposed how impatient he was becoming, as Kendrick gave nothing but radio silence as rumors started to spread about what he had under his sleeve.
This response was well worth the wait. You can’t put a timer on art, and I’m not putting a timer on Drake to fire back. I hope this rap battle carries on for the rest of the year, because steel sharpens steel and rap music in general can only benefit from this clash of titans.
Now we wait in the arena for the King in the North to gather his thoughts and respond. But, as Omar said, “You come at the king, you best not miss.”
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When Anycia sauntered onto the stage during her sold-out headline show at SOB’s in New York City (March 30), a star had very clearly entered the space. And with a buzzing crowd packed shoulder to shoulder, mingling and vibing through clouds of marijuana smoke, the venue was ready to welcome her like the star she is.
From fan-favorite “BRB” to buzzy collabs like “Splash Brothers” (with Karrahbooo) and the Latto-assisted “Back Outside,” the crowd rapped along to every word of Anycia’s growing catalog, effortlessly emulating the Atlanta emcee’s raspy, blasé tone. At one point, Anycia gave her microphone to a fan, who happened to be a law student traveling from out of state, and she rapped an entire verse bar-for-bar as Anycia looked on in humble shock and glee. A little bit later, another fan surprised Anycia with a bouquet of flowers, which she tearfully and gratefully accepted.
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“They was blowing my mind,” she says of her fans. “It just made me realize like, You really got fans, girl!”
With her debut full-length projects hitting DSPs on Friday (April 25), the ascendant rapper is gearing up for the next phase of her career. Princess Pop That – which features collaborations with Luh Tyler and Cash Cobain – finds Anycia branching out from the Detroit-type beats that characterized her earlier output while still maintaining her authenticity. When Anycia raps, “Beat up the cat ’cause he know I’m a dog/ I turn a prince to a frog/ I turn a frog to a prince/ I’ll leave a n—a on missed call,” on Princess Pop That standout “ATM,” he laid-back tone is somehow both menacing and inviting, a truly intoxicating mixture.
She knows she can take anybody’s man and walk them like a dog, but she doesn’t necessarily feel the need to shout that from the rooftops. If you know, you know – and when it comes to Anycia, everyone will know whether they were seeking that knowledge or not.
After opening up for Veeze last year and kicking off 2024 with her most-viewed music video yet in “Back Outside” (three million hits on YouTube in just three months), Anycia is ready to take her moody e-girl-meets-ATL baddie aesthetic all the way to the top.
In an illuminating conversation with Billboard, Anycia breaks down her three essential Princess Pop That tracks, details how she’s adjusting to her rising fame and reveals what really makes her emotional.
What are three songs that you think are must-listens from Princess Pop That?
“Squeegee,” just because I like the sample on it. I picked it out, it’s “Let’s Get Away” by T.I., it’s very nostalgic for me. It’s already a song that I always listen to, so [I knew I wanted to sample it]. I like to incorporate the s—t that I listen to in the beat or some type of way.
“EAT!” is just a bop to me. Love that song. And working with Kenny [Beats] is always cool. [In the studio], we were just vibing. I had some tacos – I get the same s—t, I had my lil carne asada, some guac with a lil rice and beans and stuff like that – mess my stomach up a lil bit, but I did what I had to do and I made my song and everything was tea! I [also] had some wine, I love cabernet! [Laughs.]
[This] one’s growing on me only because I did an interview and it made me realize, “Wait, I really have never seen no b—h at the bank before for real.” It used to be my least favorite, “ATM,” but it’s growing on me. Chile, I did not like that song. It’s grown on me because I really ain’t never seen nobody that I don’t like at the bank. They be everywhere else in the world: Popeyes, the grocery store, the mall, I ran into a b—h at the damn doctor’s office. I ain’t never run into no b—h that I don’t like at the ATM withdrawing something. I ain’t never seen a b—h inside the bank, I never even drove past no b—h in front the bank! I ain’t never seen them nowhere near no money!
[The studio session for “ATM”] was turnt. I was drunk. I had just went out to eat, I was having a time, chile! Sometimes I freestyle, it depends on how I feel. I had some shots, so a b—h was freestylin’, you know how we get, chile.
You’ve said that you’ve always been doing music in your life, but you tried to take it seriously in 2022. What are your earliest musical memories?
I used to go to a Christian School, and it was a concert – now that I think about… it might’ve been a little racist! Because why did y’all make me the rapper? Then I had to think about it, like, Maybe it’s not racist. I was always singing and doing stuff in class, so they made me the rapper. They had me in a puffer jacket with the fur on it in Atlanta around Easter time! It was pretty hot!
So, I just rapped about God. It was like my own little solo. That’s why I feel like… he know that I made that song for him! That’s why I’m getting all the blessings I’m getting.
What do you remember listening to in the house?
I grew up with girls, my mom and my grandma, and they both are completely different. My grandma would be listening to Sam Cooke and Luther Vandross and Teena Marie, stuff like that. My mom would be listening to Crime Mob, Bone Thugs-N-Harmony, Field Mob, Ciara, Cherish, so I grew up on that. My mom’s from California, so she got a West Coast vibe and the girl’s just cultured, she’s musically inclined.
How do you thinking growing up in a household of women shaped you into who you are today?
With the women that I was brought up around, they really just taught me to embrace myself 100%. No matter the situation, always be comfortable with yourself. Like I said, my grandma and my mama are the complete opposite, so I get completely different opinions on s—t and we still like that now. They’ve always taught me to remain in tune with myself, really just how to be a f—king woman, how to stand your ground, how to understand every dynamic of a woman, how to enjoy your woman experience no matter what the f–k is going on. And no matter what, just to give it 100%.
Have they ever given you notes or advice on music or your career at all?
No. Even if they did, I’d take it with a grain of salt — because I’ve always been one of those people that got to bump my own head to figure some s—t out. Can’t nobody tell me what the f—k because I feel like it’s different strokes for different folks, your story is not the next person’s story. I do take advice. I’m learning to take advice from people that have actually been in those [situations]. You know parents love to put their 1-2 in! You tryna give me a 1-2 and you ain’t even had that 1 yet. Just let me do what I do, and you just support.
Nobody really sounds like you. How did you develop your rap voice and your flow?
In the beginning, I used to be trying to do little melodic type s—t. Just dibbling and dabbling in some bulls—t. But, at one point in time, I just realized… B—h, just talk.
Last winter you put out your debut EP, Extra. How would you describe your growth from that project to Princess Pop That? What are some of the biggest lessons you learned since putting out your first project?
Nothing really musically. I just be doing my lil thing. I get into different bags with myself. I learned how to adapt to different s–t. Let me learn how to get in different bags and step out my element but still be myself. Before, I felt like people was putting me in a box: Detroit type beats. That’s not a problem, but my biggest thing is I want to be just me. I just want to be in my own lane. I don’t want nobody on the same street with me. This is my street, I’ll come over there when I come over there. It’s private, gated community. [Laughs.]
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We got Kevin Durant, Drake, and Latto — you’re entering your debut album era with some massive co-signs. Which one meant the most to you and who’s given you the best advice about this whole music thing?
Ain’t nobody gave me no advice. Everybody’s given me support. I don’t really look for advice. I’m not vulnerable with people unless we’re close. I don’t make you feel like I need any advice. If anything, I want you to be looking to me like, “B—h what can I do to be like you?” I don’t give a damn who it is!
I’d say Latto is my favorite [co-sign]. She’s such a girl’s girl, and we had fun shooting the [“Back Outside”] music video. I met her at her birthday party prior to that. The girls really be my favorite to me.
You recently toured with Veeze, who had his own breakout moment last year. What did you take away from that experience?
Before [the Veeze tour], I would be so nervous. I still do be a little nervous, but now it’s better because I know people are starting to get the gist of what’s going on. Like [at] SOB’s, people are coming to see me. For the Veeze tour, I was still fresh. It was different states that we were going to, that I literally was finna s—t bricks backstage — like, Is these people gonna boo me? I used to worry about that.
I learned that no matter what room we step in, no matter what performance I do, even if they don’t know me, the whole goal is to make sure that they know me before they leave.
What was it like when you got that call to open for him?
It be certain s—t that hit me like, “OK, this is really going on!” But, for the most part, I was just thinking about… where we was finna be at. Like responsibility s—t. I was nervous about performing, but I wasn’t [screaming] or anything like that.
Is there ever a moment where something happens and you are screaming and jumping?
Not screaming and s—t, [but] I got emotional at SOB’s. All this s—t is very intimate to me. A lot of stuff excites me, but not for real. The smallest things mean so much to me. I cried at SOB’s because I was surrounded by people [who] have been with me a while. Them flowers? Chile, that was the lead for the first tear. One of the women that work with me, she got me a custom lil letterman jacket with “sold out show” on the back, I just bust out in tears, chile, I was so emotional. But I cleaned it up real good after that!
How do you stay grounded with all of these big career changes?
It’s not easy at all. I wouldn’t even sit here and be like I’m all the way around it. It’s s—t that irritates the f—k out of me every day. Business s–t, you know what I’m saying? I get overwhelmed, I won’t say aggravated or irritated. I have a lot to do. This is what I decided to do, you ain’t really going to get no sleep like that. But it’s definitely tea!
It’s [less] being grounded and [more] learning how to do what you got to do and go with that and still incorporate being you and not losing sight of what the f—k the bigger picture is. Like if I don’t want to do something, I’m not gonna do it. If I don’t like something, I’m gonna say I don’t like it. I’m open to how the f—k you feel, or why you think I should do it, but if I don’t want to do something, it’s always myself first.
When it comes to creating your stage show, do you have anybody you look up to?
Sometimes I don’t even know what the f—k I’m going to do before I get on that motherf—ker! I don’t know what it is. Truth be told, I go to rehearsal, I get up by the stage, I get the bubble guts and then everything just goes out my mind. I’ll step on the stage and see the people and my stomach starts hurting. I be like, Oh, s—t, they really pulled up. I feel like a scary b—h that didn’t really want to fight for real. The scary b—h that dopped the addy and didn’t think they was really gonna come. I be backstage like, They gon beat my a— bro!
And then you gotta go out there, cause your mom in the back, like, You brought these b—hes to my house! They just paid gas money and s–t, I got to get out there. So, it just clicks. Sasha Fierce! I get up out there and something takes over and we just start rocking out.
[At] Rolling Loud, I had a mental f—king breakdown on the plane. I got mad when I got to the to the damn hotel room. I was being a b—h, then I just broke down. See, that’s what happens with me. I’ll be a b—h, and then I turn into a b—h for real. I’ll be a b—h, and after all the bulls—t, all it takes is one person around me to be like, “What’s up?” and I’ll break down in tears. Then we have a nice little pep talk and we back into action. But I was on that plan laughing and crying with the f—king wine taking pictures. I took selfies of me crying!
How was performing at Rolling Loud?
It was cool. My mom got to see me, that was her first time ever being able to see me before. I had to make sure it was a special show because she is a hard cookie to crumble, baby. I couldn’t just bring her to a regular show. I had to bring her to Rolling Loud. She was excited, she got a shirt and everything. That was the best part for me, my mom seeing me.
And the people out there, I didn’t think that they would be there for me. I underestimate myself in some circumstances. It just hasn’t completely clicked all the way. It’s clicking, don’t get me wrong, but it’s crazy because I’m literally being myself.
What are those moments where it really started to click for you?
It be the most random times, like when I’m doing some s—t where I didn’t expect nobody to see me. I was in the flea market getting one of my grills made, and there was a young woman with her mother. First of all, I was going to pass out, period. I am anemic and I hadn’t ate. I was waiting on the lady to change my phone case, and I was getting really lightheaded. I had on a damn windbreaker jogger suit! [Laughs.]
So, I’m leaning on the damn stool and this lady come over like, “Hey, are you Anycia?” And I’m still adjusting [to fame]! Normally, a b—h ask you what’s your name or who you is at 285 Flea Market, I don’t know whether to say yes or no! So, I’m like… this b—h finna beat my a–. She gon knock me clean the f—k out. Then she like, “My daughter over there, and she shy!” I look over and the daughter over there [hiding]. She wanted to take a picture, so I [got myself together]. All of that was random!
But for real, I be forgetting I can’t go outside with my wig all the way back. I can’t go outside with a bald cap on no more!
When it comes to fan interaction like how do you navigate that? How’s that relationship developed over time?
It really wasn’t a development thing! I’ve always been a person that likes to break the ice and command a room. I’ve always felt [that with] being a leader, you determine the room. Whoever tags along, tags along. Whoever don’t, is not meant to be in my world. I’ve always been a people person, but I don’t like who I don’t like.
Who’s on your Mount Rushmore of rap?
1, me. 2, me. 3, me and 4, me. But the way it has to be set up, it’s different styles that I done did. Some cute braids, cornrows, 30-inch bust down straight down the middle — and then the next one just gon be me being the baddest b—h I can possibly be.
What’s your favorite rap album?
Probably Princess Pop That.
What are your top five songs ever?
“Big Body” by Anycia. “BRB” by Anycia. “Back Outside” by Anycia. “EAT!,” it’s also by Anycia too. And “Squeegee” by Anycia.
Watch Latin American Music Awards Joe LaPorta understands the fast-paced nature of rap music. “[When I left New York University], the industry was completely different,” says the 44-year-old mastering engineer who has worked with everyone from Imagine Dragons to Miley Cyrus to, most recently, Future and Metro Boomin. “It was still a physical medium. There […]
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Arguably the mad scientist behind this Rap Civil War, Metro Boomin’s skirmish with Drake first began when the producer chose not to include the rapper on his song “Trance” from 2022’s Heroes and Villians album. In an interview with DJ Drama’s Streetz Is Watchin Radio, Metro claimed the song, which ultimately featured Travis Scott and Young Thug, was already done and didn’t need an additional verse.
“He really wanted to get on it, but I was letting him know that it was really just done for real. I was really just set on how it was,” Metro said. “I was like, ‘Bro, I ain’t trying to sell you no dream. I’m locked in where it was.’ He had hit me and was just like, ‘Let me see if there’s anything you could add to it.’ He was like, ‘If you don’t like it, then whatever.’”
Despite the misunderstanding, Metro appeared on Drake and 21’s album Her Loss as a co-producer alongside DAVID x ELI for their song “More Ms.” Hower, things got rocky when Metro tweeted and deleted the following when speaking on award shows honoring Her Loss over his album:
“Yet her loss still keeps winning rap album of the year over H&V. proof that award shows are just politics and not for me,” Metro wrote in the deleted tweet. “Idc about awards honestly, the true award and REWARD is knowing that the music I spend so much time on brings joy to people’s everyday lives.”
Shortly after, while appearing on Kick, Drake issued a message that some believed to be aimed at Metro. “And to the rest of you: The non-believers, the underachievers, the tweet-and-deleters, you guys make me sick to my stomach, fam,” he said during the live stream.
Metro seemed unbothered initially, saying there wasn’t any real issue between him and Drake. Still, that didn’t stop Metro from taking potshots at Drake on Instagram and Twitter the last few weeks, resulting in Drake ultimately calling him out on “Push Ups,” rapping: “Metro, shut your ho ass up and make some drums, n–a.” He also clowned him on social media, using clips from the film Drumline to punctuate his points about him focusing on his production.
04/19/2024
The Queens MC’s groundbreaking debut turns 30 today.
04/19/2024
The Summer of Slizzy is upon us.
As soon as the weather starts to get nice, New York City becomes a playground. People from all walks of life are seemingly outside eating, drinking, smoking and blasting music. And one song that’s sure to be in heavy rotation this summer is Cash Cobain’s “Fisherrr” featuring Bay Swag. You already hear the song coming from cars as they pass by, or being used in countless Instagram Reels and TikToks, usually accompanied by its official dance, The Reemski.
Cash has teased the track on social media, feeding fans little bites here and there, but it wasn’t until he and Bay performed the song on the YouTube series From the Block that the song took off. The Instagram clip and the YouTube video each have one million views and the song currently has 3.6 million plays on Spotify. There’s also whispers of a “Fisherrr” remix being in the works with a certain New York City superstar. I’ll let you work out who that may be for yourself.
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With the song of the summer already locked down, Cash Cobain has the city on smash. I was one of the hundreds of people waiting in line for almost two hours to get into his Irving Plaza show on April 1. The lines wrapped around the block and the anticipation was intoxicating. The air was buzzing with rumors of a Drake appearance, and questions about what the hell was taking so long while little clouds of weed smoke popped up like NYC chimneys in the wintertime.
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The NYPD was deep out there, too, but they didn’t bother anybody until the crowd grew impatient and tried to bumrush the entrance. That’s when the venue officially shut Slizzyfest down and Cash took all those remaining outside up the street to Union Square Park for an impromptu performance. Hip-hop started with park jams, so it’s dope to see a younger artist like Cash carry on the tradition. Being able to control a crowd is the definition of a true MC.
I was talking to my tax guy who’s based in Atlanta as I was putting the finishing touches on this interview when he asked me what I was working on. I mentioned Cash Cobain, and he started laughing. He then sent me a screenshot of him listening to the Cash Cobain and Bay Swag performance on Hot 97’s Funkmaster Flex show. When an accountant living in another part of the country is up on you, it’s safe to say you’re on the way to becoming a star.
Billboard spoke with April’s R&B/Hip-Hop Rookie of the Month about making sexy music, working with the likes of Drake and Frank Ocean, plus much more.
How does it feel to have the song of the summer already? I feel like “Fisherrr” is only getting bigger. That From the Block video took it to another level.
It feels amazing. It feels like a moment. We haven’t had a real movement in New York in a little minute.
The energy outside of your show at Irving Plaza was electric. It’s hard to put into words, but I haven’t felt that type of excitement outside of a show in NYC in a long time. Did feeling the love from the fans outside make you want to take them up the street to Union Square Park?
They canceled my show, so I just wanted to give them something. I wanted to be seen. I was upset and decided to go outside, and everyone started gathering around me, so I started walking. I didn’t even realize Union Square Park was that close. As I’m walking, I was like, “Nah, I need to stand up or something, I need to be seen, I need some music.” You know Manhattan got them long ass blocks, so I see like a park. It was perfect. We had a good time, and nobody got hurt.
After Slizzyfest got shut down after fans started fighting outside Cash Cobain proceeded to shepherd 100+ fans to the park and now we’re doing karaoke pic.twitter.com/2C9h1nA8g6— no bells (@nobellsblog) April 2, 2024
Let’s talk about the dance that’s been going viral: The Reemski. La La Anthony and her son did a video and so has former NBA guard Lance Stephenson. That’s when I knew “Fisherrr” was different. Were you going to do that dance during your set?
Yeah, once a song gets a dance, it’s outta here. I be trying to do the dance, but I don’t know, I have to be in the mood.
Can you describe Sexy Drill? Did you come up with that name?
Everything gotta be sexy. I like sexy s–t. Chow Lee and Lonny Love really put Sexy Drill on the map.
You and Bay Swag were on Hot 97 with Funkmaster Flex recently, which got some mixed reactions. Was that a big deal for you growing up in NYC?
Flex? Hell yeah. The radio, period. It wasn’t a freestyle, though, it was more like a performance. We be saying little slick s–t in our raps, it may sound like we’re playing around, but when you say some slick s–t, you might catch someone’s attention.
Flex seemed into it. That s–t was funny because he was making funny faces after certain lines.
He was like, “I understand it, I don’t need to see it twice. Y’all some nasty motherf—kers.”
You and Bay are like horny Jada & Styles with the back and forth. Your lyrics are always raunchy. Why are you so horny?
[Laughs.] That’s just who I am for real. I wanna f—k all day.
I should use that as the headline: “Cash Cobain Wants to F—k All Day.“
That’ll go viral.
I’m not sure if people realize how versatile you are. You’ve worked with PinkPanthress. How did that link up happen?
The managers did what they do. The managers were managing and managed to get us in the studio. We linked in LA in person, man, we were just cookin’ up, vibin’, talkin’ and stuff. That was my first time meeting her.
You guys have similar styles, so it makes sense.
Yeah, and I didn’t know she made her own beats. So, when I locked in with her, she was like, “Let me hop on the keys right quick” and I was like, “Huh, what? You make beats?” And she was like, “Yeah, I make all my stuff.”
You guys plan on working together in the future?
Of course. I want her on my album.
Speaking of albums…i s “Fisherrr” the lead single?
Nah, that’s for my Play Cash Cobain EP that should be coming out soon. “Dunk Contest” is going to be on there too, along with some other songs like “Candle” and “Act Like.”
Ok, so is Drake going to be on the EP or the album?
[Laughs.] He made the album cover for the EP, though!
Cover art for the upcoming Play Cash Cobain EP.
There were rumors that he was supposed to pop out at your show in New York.
I don’t know about no rumors. He was already in town. He had a show [in] Long Island, and he posted the picture I’m using as the cover, so people put two and two together.
So, what’s next for you?
I have the Play Cash Cobain EP coming up and we’re just going to keep dropping music. We got some placements on the way.
Anything you can talk about?
Travis Scott. Me and Don Toliver were in the studio, we got some crazy sh—t coming. Me and Boat [Lil Yachty] are about to come out with some sh-t. And I should be doing something with Frank Ocean soon, too. He really f—ks with my music.
How do you envision your wave taking over the city once the weather breaks? Because I’ve predicted that a Slizzy Summer is in our future.
Aight, boom, we been outside. I don’t care if it’s summer, winter, we been outside odee. So, for Slizzy Summer I wanna do like a Slizzy pool party vibe, like Freaknik. We gonna call that s–t Slizznik. I wanna do a summertime show outside. I wanna make things like slizzy this, slizzy that. I just wanna have fun, I don’t want nobody to get hurt.
So, you definitely plan on doing another show in New York soon to make up for this last one?
Yeah, ASAP.
The ladies love your music. You’re putting fat boys back in style like Biggie did. Was he someone you grew up listening to?
Biggie was the first rapper I was introduced to. I listen to a lot of Biggie, Aaliyah, and Michael Jackson. I really love 50 Cent too. I grew up listening to everything: Hip-Hop, R&B, like old R&B. I’ve been listening to “Me and Mrs. Jones” by Billy Paul. You know? Meeting at the same spot at the same time every day. My grandparents and parents had all those CDs like Stevie Wonder and Michael Jackson’s greatest hits.
How about on the production side of things? How did you come up with this sound?
Trap and Drill really inspired me, but I wanted to add my own flavor. I didn’t want to bite guys like Southside and Metro. I didn’t want to capitalize off a Metro-type beat. I wanted to come up with my own flavor.
How do you decide on certain samples to use?
Things catch me. I can be in the elevator and hear a song, or be watching a movie, and if I like the song or hear a part that I can use, I would Shazam it. I find things when I’m listening to music on YouTube. It could be familiar songs or unfamiliar songs.
Who taught you how to make beats?
I’m self-taught, just f—kin’ around on FruityLoops. I always wanted to make beats, though. It was the perfect match, I just had to figure it out. I was confident because my mom used to buy me drum pads, Yamahas, and s—t like that.
And what made you rap about the things that you rap about? I was surprised to see the NYPD outside of your show so deep because you don’t make that type of music.
Because I know n—as that rap about street s–t and are dead p—y. [Laughs.] They dead soft. I’m going to be true to myself. I’m not trying to incriminate myself. I have made rap songs like that, but this is what I wanna do. I wanna play autotune, I wanna sing, I wanna melodize, I want it to be sexy.
You want to be a heartthrob and not a thug.
I wanna be slizzy.
Can you define “slizzy” for the people?
Freedom. Judgement free. Doing what you want to do and not caring what anyone else thinks. It’s just a way of life. That’s how I got to where I’m at right now. Not caring about what anybody thinks.
OK, last question. Are you a Pelle Pelle model?
Yeah, shouts to my big brother Chris, he be lookin’ out for me. We’re working on a few things actually.
From Beyoncé’s interwoven Renaissance and Cowboy Carter albums to Ye and Ty Dolla $ign’s still(?)-unfurling Vultures trilogy, 2024 is undoubtedly the year of the franchise album.
Although sequels and spin-offs have gotten a fairly bad rap lately thanks to Hollywood’s recent production proclivities (looking at you, Marvel!), franchises can be fun! After all, they’re supposed to be: the innate familiarity of a few grounding themes, motifs or characters provides the foundation for a level of exploration that standalone titles cannot offer. What makes franchises fall flat on both film screens and record players, however, is aimless retreading of the same ground as the first installment. Enter Future & Metro Boomin’s We Still Don’t Like You.
Initially revealed within the announcement of their Billboard 200-topping We Don’t Trust You album, We Still Don’t Trust You arrives as a sequel to what is already one of the most impactful LPs of 2024. Even outside of its culture-shifting collaborations with Rick Ross and Kendrick Lamar, March’s We Don’t Trust You triumphed because it’s a remarkably consistent effort across all 17 tracks. With a bonus mixtape added as a second disc, We Still Don’t Trust You boasts an overwhelming 25 tracks – and that disregard for both brevity and quality control results in a record that’s particularly frustrating, due to how avoidable its shortcomings are.
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As is the case with so many of these records with gargantuan tracklists, there’s a good album buried somewhere inside of We Still Don’t Trust You. With some help from The Weeknd on the sparkly opener, Still immediately situates itself in a different, yet adjacent, sonic lane to that of its predecessor. Doused in Dawn FM-esque synths and a sexy bassline, “We Still Don’t Trust You” appears to signal a more pop- and R&B-facing Future – that fans would have likely embraced — in comparison to the straight rap he opted for on We Don’t Trust You. Nonetheless, the album largely abandons that path almost as quickly as it first teases it.
In a way, the record’s second and third tracks – the hedonistic Chris Brown-assisted “Drink N Dance” and the fiery “Out of My Hands” — are emblematic of the two divergent paths the album tries to simultaneously wind its way around. The former finds Future and Metro shifting the subject of their distrust – this time they’re more concerned with disloyal lovers instead of Drizzy Drake – while the latter finds them doubling down on the blows from their last album. “Ain’t goin’ against my mans to f—k on his b—h, I’m gon’ f—k up these bands/ Got too many options, they meet my demand, my team, we done spinned/ You went against the gang, you read what I’m saying, it’s out of my hands,” he spits.
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Ultimately, the duo don’t commit to the R&B bent that grants the album the majority of its standout moments, nor do they fully shift who they’re no longer trusting. Instead, the album is overstuffed with misses that lack the urgency and verve of those on We Don’t Trust You. “Jealous,” “Came to the Party” and “Mile High Memories” are all fine tracks and welcome additions to the Future-Metro cannon, but more forgettable numbers like “Luv Bad B—s” and “Overload” tend to simply float by, leaving no lasting impression at all. When you’re working within the self-imposed confines of a franchise, forgettable simply does not cut it. Because their partnership is so golden, Future and Metro aren’t really capable of making bad songs, but when their complacency starts to show and they then fall into the quantity-over-quality trap, however, the returns are unfortunately underwhelming. Some of these tracks don’t even have enough sauce to function as victory laps.
The last time Future put out new albums in such quick succession was 2017. With Future and Hndrxx – which made joint history with their back-to-back No. 1 debuts on the Billboard 200 – Future offered up one rap tape and one R&B tape, catering to both sides of his sonic profile and the different pockets of his fanbase. If We Don’t Trust You runs parallel to Future, then We Still Don’t Trust You finds its Hndrxx similarities in standout tracks like “Right 4 You.” Through an interpolation of Boyz II Men’s seminal “End of the Road,” Pluto delivers his take on a grandiose power ballad with drums that echo the electronic feel of late-2010s dancehall. There’s also the Weeknd-featuring “All to Myself,” which is built around a sample of The Isley Brothers’ 1996 gem “Let’s Lay Together.” Here, Future and Metro infuse a beloved soul track with their singular stream-of-consciousness trap balladry. With a focus on emotional betrayal that bridges the seemingly disparate styles of the duo’s own music and the samples they build upon, “All to Myself” and “Right 4 You” are the symbols of the album We Still Don’t Trust You had the potential to be.
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Still does eventually find its way back to its synthy beginnings, but that moment is robbed of its full-circle feel because of how bloated the record is. The electro-pop echoes return on “Beat It” and blossom on “Always Be My Fault” — which features another winning guest appearance from The Weeknd – but the album exhausts its welcome by the time they appear. Of course, J. Cole appears on disc one closer “Red Leather,” with a verse in which he laments not following Future’s womanizing lead before pondering if it’s really worth his “peace.” While he flows as deftly as ever, the verse withers in the shadow of last week’s Lamar apology and exit from the Big Everyone battle. What is interesting, however, is how the verse’s thorny analysis of personal growth echoes the sentiments Cole expressed in his explanation of why he couldn’t stand by “7 Minute Drill.”
For the six tracks that comprise disc two of We Still Don’t Trust You, Future cedes the floor to Breakfast Club host Charlamagne tha God, who, despite his generally problematic history, proclaims some hard truths. “It’s not a Big Three, it is a Fantastic Four,” he says via an old radio discussion. “And Future is in that.” Predictably, the subsequent tracks find Future stepping back into the braggadocious straight rap bag of We Don’t Trust You, tapping Lil Baby (“All My Life”) and A$AP Rocky (“Show of Hands”) as guest stars. While the Rocky collaboration contained the most buzzed-about disses to come from the sequel set (“N—as in they feelings over women, what, you hurt or somethin’? / I smash before you birthed, son, Flacko hit it first, son”), it’s “Crossed Out,” with its rage rap-esque synths and pristine production, that stands out as the best of the bunch.
With over 40 new tracks from Future and Metro Boomin in under a month, it’s hard to shed a tear over the missteps on We Still Don’t Trust You. Nonetheless, both hip-hop titans have proven themselves to be more than capable of curating truly transformative album experiences, so this offering is disappointingly flaccid. Marred by sloppy sequencing and desperately in need of some fat-trimming, We Still Don’t Trust You is a fine playlist for the ride back home from the club – once you decode all the s–t-stirring drama the set has to offer, you won’t be listening that intently anyways.
04/15/2024
Future & Metro Boomin, Drake, Young Thug, Lil Baby, Big Sean and French Montana all have this thing in common in their discography.
04/15/2024
That’s right, the year of beef is still raging on. Just as they did a few weeks ago with their Billboard 200-topping We Don’t Trust You album, Future and Metro Boomin set the tone for the weekend in hip-hop and R&B with a sprawling collection of new collaborations that include a few more shots at a fellow named Drake — or “BBL Drizzy,” if you’re Rick Ross.
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Alongside We Still Don’t Trust You — 2024’s second joint album from Future and Metro — a pair of diss tracks from Drizzy and Rozay titled “Push Ups” and “Champagne Moments,” respectively. Both songs were worthy additions to the ongoing back-and-forth between Drake and Future & Metro, which came to a head with the Billboard Hot 100-topping, Kendrick Lamar-assisted “Like That.” In other beef-related news, J. Cole made good on his promise to remove “7 Minute Drill,” his response to Lamar’s “Like That” verse, from streaming services, and Uma Thurman offered up her Kill Bill jumpsuit for Drake to truly get battle-ready.
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As we await Kung Fu Kenny’s response, let’s parse through this week’s new drops. With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from the latest preview of PARTYNEXTDOOR’s upcoming album to Maiya the Don‘s funky come-hither pop-rap banger. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Jean Deaux feat. Destin Conrad, “Thinkin”
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Taken from her Nowhere, Fast EP, Jean Deaux’s new Destin Conrad duet, “Thinkin’,” is a gorgeous slice of slinky, sultry R&B. “Thinkin’, thinkin’, thinkin’, thinkin’/ But if it wine, how your touch gon’ feel with mine?/ I been/ Drinkin,’ thinkin’/ I’m reminded, we’ll never know if we don’t try,” she croons over ethereal guitars and synths. As he does with essentially every duet he partakes in, Destin Conrad brings a lovely, idiosyncratic dimension to the track, providing a warm vocal complement to Deaux. The atmospheric energy of the record helps bring to life the intimacy-sourced escapism the pair croon about across Lido’s production.
Kalan.FrFr, “Everybody”
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LA rapper Kalan.FrFr delivers a sneak attack of an anthem built on a Bankroll Got It production that’s infused with trademark West Coast bounce. “Everybody got a homie that’s a Blood/ Got a homie that’s a Crip/ Got a homie that’s a b–ch/ Got a homie that’s a pimp/ Got a homie that’s a trick/ Got a homie that whip p—y/ Got a homie p—y whipped,” he spits with a flow that’s as laid-back as it is tongue-in-cheek. Outside of how catchy the track is, “Everybody” is an unlikely ode to how much we all have in common — even if those commonalities are the nefarious activities our homies may or may not be getting up to.
BBG Steppaa, “Bisexual Glock”
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“Glock is bisexual, aim at women too / Niggas told, what you mean what your friend do? / It’s up with the whole town, beefin’ with kin too,” snarls Newark drill rapper BBG Steppaa on “Bisexual Glock,” his provacative new single. While the message is hardly one that should be endorsed, the new track — which features production contributions from AyyoLucas, Spaceman and EMRLD — finds Steppaa proclaiming his ruthlessness when it comes to protecting himself and those most loyal to him. The contrast of the high-drama string-laden embellishments juxtaposed against the drill snares make for a perfectly high-octane listening experience.
PARTYNEXTDOOR, “Lose My Mind”
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Now that dust has settled around PND’s NSFW new album cover, it’s time to get back to the music. For the latest taste of his fothcoming project, Party builds on a sample fo DMX’s classic “Party Up (Up In Here).” In fact, the entire hook is repurposed from that of DMX’s original, with Party providing the lead-in line — “Y’all gon’ make me lose my mind” — as he sings about the borderline tragic allure of beautiful women. The murky trap&B balladry that grounds the track is also quite reminiscent of classic PND.
Maiya the Don, “Mean It”
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“Show me that you need it, that you need it/ Say it like you mean it, like you mean it,” Maiya challenegs a potential lover on “Mean It.” The Bankroll Got It-helmed track banks heavily on the rising New York rapper’s seductive edge, with her gruff tone evolving into something particulalry inviting against the funky left-of-pop/rock production. Showing no signs of slowing down after blowing up with “Telfy” and “Dusties” over the past two years, “Mean It” could turn into a nice spring hit for Maiya the Don.
Future & Metro Boomin feat. The Weeknd, “All to Myself”
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Metro turns the clock back a few decades with some vintage babymaking R&B production to set the candle-lit scene. Motown Future continues his Future Vandross evolution entering his lover era. The Weeknd and his falsetto make another appearance. However, his dulcet assist is soured 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.
Tinashe, “Nasty”
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Tinashe leans into her Nasty Nashe alter-ego for her sultry new single. The R&B singer-songwriter’s robotic hook casts a hypnotic spell on listeners and will have them repeating after her within seconds. Nashe has been known to dabble in painting in the studio while recording and she paints an evocative picture with her sensual second verse depicting a perfect date night. “Shotgun, my thighs on his seat/ I ain’t got nothing underneath/ Looks like you’re ’bout to spend the night/ Freak side, I’m ’bout to change your life,” she promises. 2024 is slated to be a busy campaign for Tinashe with “Nasty” serving as the lead single heading into her BB/ANG3L PT. 2 – QUANTUM BABY project.
Key Glock & Young Dolph, “Let’s Go (Remix)”
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Key Glock is one of rap’s reclusive stars, so when he reveals a collaboration is on the horizon, fans’ ears perk up. With the “Let’s Go” remix, Glizzock surprised the Paper Route Empire family with a posthumous appearance from his mentor Young Dolph. Dolph’s verse fit like a glove over the trunk-rattling production so well that fans thought it was AI-generated, a theory that Glock quickly put to rest. His braggadocios assist embodied everything that people loved about the Memphis rapper – brimming with boisterous boss talk and a peek into his raunchy romantic ways. A fitting tribute to one of rap’s voices gone way too soon. RIP Young Dolph.
Future: “Don’t you know? Don’t you know?/This life is amazin’, special occasions, we smoke n—as like packs/We roll n—as like…we cook n—as like crack, givin’ it back/So many ties, right or wrong, down for the guys (Swerve)/We ready to ride, dawg, whenever it’s time (Whenever)/However we gotta play it, we can’t be in the blind (Never in the blind)/It’s gon’ seem complicated to you if you not one of mine (Not one of mine)”Future: “Ain’t goin’ against my mans to f—k on his b—h, I’m gon’ f—k up these bands/Got too many options, they meet my demand, my team, we done spinned/You went against the gang, you read what I’m saying, it’s out of my hands”
These issues with Drake seem to be deeper than rap. I’m not sure if this all stems back to the now infamous “tweeters and deleters” Instagram Story from the Canadian rapper. Future takes the “If Metro doesn’t trust you, I’m going to shoot you” slogan to heart, acknowledging all the moving parts and mutual relationships that are going to be tested.
A couples scenes come to mind.
First, there’s this scene from the first Godfather where Michael is in a garage testing out the gun Clemenza set up for him and Clemenza is explaining to him why this tug of war for power is necessary for getting rid of the bad blood every five to 10 years.
This scene applies to the Big 3 in Drake, Kendrick, and J. Cole, but I’ll also throw Future in the mix who clearly feels he’s the odd man out of this equation. Every few years or so, rap has to go through a power struggle. We’ve seen this movie before throughout the genres history, whether it be Boogie Down Productions versus the Juice Crew or Roc-A-Fella versus the Ruff Ryders, and Nas and Queensbridge.
Then there’s the scene from The Wire where Slim Charles is telling Avon they’ve come too far to stop fighting now. This applies to the lines: “So many ties, right or wrong, down for the guys/We ready to ride, dawg, whenever it’s time” and “You went against the gang, you read what I’m saying, it’s out of my hands.”
Like Slim says, “Once you in it, you in it. If it’s a lie, then we fight on that lie, but we gotta fight.” This clip applies to some of the things said on “Nobody Knows My Struggle” as well.
