Rap
Page: 6
“Carnival” is Ye’s (the artist formerly known as Kanye West) first No. 1 single since being featured on Katy Perry’s “E.T.” (his first as a lead artist since 2007) and it seems like he’s back on top. Musically, at least.
Explore
See latest videos, charts and news
See latest videos, charts and news
“Rich, Ty, Carti and the supporters that stood by us through everything, this No. 1 is for you. It’s for the people who won’t be manipulated by the system and f*ck adidas and everybody who works there or with them. Anyone who goes to school with anyone whose parents work at adidas, just know they tried to destroy me and here we are with the No. 1 song in the world,” he posted in a since-deleted statement on his Instagram account this week.
If you thought Ye wasn’t going to be cocky after earning his first No. 1 in 13 years, you thought wrong. He clearly feels that him sitting atop the Billboard Hot 100 is a huge deal. And to be fair, it is. At 46 years old he’s the oldest rapper to achieve this feat — and doing so after some of the most tumultuous years of his career makes this achievement even more unbelievable.
Trending on Billboard
But the question on everyone’s mind right now is: how long will this last?
Kanye West disses Drake, Adidas, Hailey Bieber, Daily Mail and others in an Instagram post promoting his new music video for “Carnival.”“And it’s f**k Drake for taking Durk right at the beginning of the Vultures role out.” pic.twitter.com/FKjViPbvO5— XXL Magazine (@XXL) March 12, 2024
We’ve seen this movie before. Granted, this time it’s been both amplified and accelerated, but the general idea remains the same. Ye does something to infuriate a large group of people which puts his career in peril. When the peril seems all too real, he shows contrition either through an apology or through a piece of art that tries to explain why he did the thing that infuriated all those people in the first place. And eventually, after some passage of time, he winds up back in everyone’s good graces. Most people think of him on stage at the VMAs and the subsequent release of My Beautiful Dark Twisted Fantasy as the precedent of this cycle.
That was all a long time ago, though. His legacy has taken a major hit over the years as his erratic and, at times, offensive behavior has overshadowed his art. Back in 2016, things got shaky for Ye when some of his Saint Pablo Tour performances were derailed by rantings and ravings. This was blamed on exhaustion and dehydration and led to him being hospitalized and forced to cancel the remaining legs of the tour. That same year he was diagnosed with bipolar disorder and pledged his allegiance to Former President Donald Trump. Ye then became a born-again Christian and started to share some of his religious beliefs, like his pro life view on abortion.
Then came his very public divorce from Kim Kardashian and his run of antisemitic remarks that resulted in adidas dissolving their groundbreaking partnership and other companies like JP Morgan Chase severing ties with the artist. Amid all of this, the music he was releasing wasn’t getting the critical acclaim his earlier work received. Ye, Jesus Is King, Donda 1 & 2, and Kids See Ghosts all got mixed reviews. The combination of his controversial opinions and the stream of mid music resulted in fans starting to completely tune him out. History has proven that hit records can fix a lot. But smashes can only do so much—they ain’t magic wands.
[embedded content]
It’s clear Ye has amassed a new legion of fans who are more tolerant of his antics off the field; ones who are able to excuse his bigotry and abrasiveness. But his older fans (I’m one of them) have been mostly turned off by his shenanigans in recent years and it’s going to take a lot more than a hot song to win us back. When I first ran through Vultures 1, “Carnival” didn’t immediately jump out to me as a song that had the potential of becoming a hit record. I thought “Paid” and “Vultures” were the “ones” off this album, and even then I didn’t believe either of them would hit the top of the charts. However, in hindsight, I underestimated “Carnival’s” anthem potential and the power of a #veryrare Playboi Carti feature.
Now, that said, even with “Carnival” going number one, I have to say that on a scale of 1 to 10, I’m at around a five when it comes to Ye continuing this run of success. I’m just not sure he’s into traditional success anymore. He seems to love the drama more than the music these days.
Just look at what’s happening with this Julieanna Goddard debacle. Instead of people talking about his first No. 1 in over a decade, people are talking about a controversy involving members of his Yeezy team. On Tuesday, Ye publicly distanced himself from the Miami-based marketer better known as YesJulz, posting an Instagram Story that read, “We have decided to no longer have YesJulz involved in the role out of Vultures. All the activity on her page and with our fans in the past few days has been unauthorized.” Then an email floated around—allegedly from Chief of Staff Milo Yiannopoulos, yes the far right commentator who managed Ye’s presidential campaign—saying she had been fired and will be fined $7.7 million for violating her NDA, even though she didn’t sign her contract. I’m no legal expert, but I don’t think you can violate a contract you never signed. YesJulz then went on the offensive and shared several screenshots and emails from Yiannopoulos which contained disparaging remarks about Ye’s fanbase. And, frankly, It’s all a sh*tshow.
Heres what Milo, the Chief of Staff who controls who gets hired + fired & when they get paid, thinks about the very fan base that fought so hard to get Ye his first #1 in over a decade pic.twitter.com/N0FEZTny1k— Yesjulz (@YesJulz) March 14, 2024
We should be talking about Ye’s return to form, instead we’re trying to piece together why Milo Yiannopoulos is back on his team and if the original email is even legit or not. Ye eventually deleted his posts about YesJulz, but the damage has already been done. No one knows what’s really going on over there, but one thing is for sure: Ye is addicted to drama. How long before he makes more disparaging remarks about people he perceives to be against him? If his celebratory Instagram caption is any indication, it won’t be long at all. If he’s not able to get his house in order and focus on the art, his first No. 1 in nearly a decade and a half will mean nothing and he will only have himself to blame.
Initially, BossMan Dlow didn’t think he crafted a breakout hit in “Get In With Me” — after recording the track last year, he quickly discarded it into his dossier of files and got back to working on his next hopeful street anthem. But he’s happy to be wrong: the song become his debut entry on the Billboard Hot 100 in mid-February and has since reached a No. 49 high in five weeks on the chart. In the March 1-7 tracking week, “Get In With Me” earned 9.6 million official U.S. streams, according to Luminate.
The 25-year-old credits the slick rhymes on the trunk-rattling single to the alcohol flowing through him during a November studio session in Fort Lauderdale, Florida. “Patrón was talking to me,” he tells Billboard. “That beat came on and I think I had just spent $1250 on some shoes — so that was in my brain, ‘Pair of shoes $1250.’ It just came to me on some drunk s–t to be real.”
Trending on Billboard
Dlow motivates listeners with his work hard, play hard mentality stacking paper and getting fly to floss on the competition. (“You wanna be a boss, you gotta pay the price,” he raps on “Get In With Me.”) And he isn’t apologizing for his making recent waves in the industry, either, breaking through after pounding on rap’s door seeking entry since 2019 (“I’m trying to step on they throat — ya hear me”).
He signed a record deal with Alamo Records last summer, and he’s the latest integral piece to an already-loaded R&B/hip-hop roster that boasts stars Rod Wave and Lil Durk. And with a label team in tow, life is moving faster than ever for the burgeoning Florida native. He’ll look to stay hot with the release of his gritty Mr. Beat the Road mixtape on Friday (March 15). The 17-track project boasts features from Sexyy Red, Rob49 and more.
Below, Dlow tells Billboard about the success of “Get In With Me,” manifesting a Future collab and his entrepreneurial plans outside of music.
Did you know “Get In With Me” was a hit when you first recorded it?
Hell nah. I had just ran through it. I heard the beat and that probably took me 45 minutes to an hour and then I was like, “You know what? F–k it, next song.” Type of s–t. That’s just another song. [I’m] punching in freestyling. I used to write. Now I don’t be having no time like that. I just go in that b—h and speak my mind, which is a little better.
Where were you eating hibachi on the 50th floor?
That’s boss activity. Get you a bad b—h and take her to the 50th floor and order the most expensive s–t you can. You know, just living life. Doing s–t to talk about doing s–t.
When did you know it was a hit outside your fanbase?
When I first did the freestyle, the s–t went up to like 200,000 likes. I ain’t never had that many likes. Then it was people reposting it. Rod Wave, Moneybagg Yo, even Ciara posted it, DaBaby wanted to get on it. He posted it. A lot of reaction from big rappers too so it’s really crazy.
I saw Quavo using your lyrics in an Instagram caption. What do you think about seeing that?
That s–t crazy. From playing these dudes’ [songs] to now they playing my music. I never talked to him, he just did that.
What was your reaction to making the Hot 100?
The s–t just keep getting crazier and crazier. That’s hard as f–k to do, bro. Especially rap music. It’s unbelievable.
Do you ever have the mentality of “I’m trying to make the Hot 100” when making music?
Nah, I was really in the streets. This is new to me. So my manager telling me, “You at No. 52 on Billboard [Hot 100].” Like damn, Billboard?! I don’t really know what it mean but you know that s–t is hard.
What do you think about “Get In With Me” taking off on TikTok and helping promote it?
Yeah, I seen Lil Baby posted it. It’s crazy. I really didn’t know that song was gonna do all that. That’s what I learned. It be the songs you don’t like. That’s just how it goes. I’m not saying like I thought it was trash, I’m saying more I put it to the [side] like this ain’t one of ‘em. This ain’t my main focus.
[embedded content]
How’d you link up with the producer Dxntemadeit?
Yeah, I f–k with bro. Bro was in the studio with us and we got a couple beats off him. I f–k with his selection and how he make his beats. We started working and we gonna keep it going. We got us some [more] s–t coming for sure.
How did you end up signing with Alamo last year? The label is loaded with you, Lil Durk and Rod Wave to name a few.
Real street. My music started off in Tallahassee and started swinging its way up north and down south in Florida. Couple rappers were reposting my music from the start, and it ended up having me to keep going. [I signed with Alamo during] Last year around August or September. Yeah, we finna crush. We got no time to play.
What was your childhood like growing up? I know you were a hoops fan.
Yeah, Port Salerno. Small hood running around doing kid s–t. Riding dirt bikes and s–t. Couple of streets to ride on, couple of dirt path roads to ride on. Play a little basketball and it’s really just the streets after that. You’ll catch the streets young where I’m from. It’s all around. You end up doing street s–t and then you end up in trouble and then you end up all in now. Just some small city.
Who were some of your early music inspirations?
My people used to play old-school music. I used to play Lil Wayne, Wiz Khalifa. That was my s–t.
What did you find so appealing about Future’s music?
He’s been going for a long time and he can drop a hit whenever he wants to. It speaks for itself. I want to be long-lasting like that. He’s probably looking at 20 years right now.
We’re gonna get that Dlow and Future collab?
We definitely gon’ get it.
I read you wanted to change your name from BossMan Dlow. What was it gonna be?
Yeah, in 2019 I was BossMan Dlow and I got locked up and had some s–t to deal with. I didn’t want to get back out and rap with the same name I got locked up in. I was gonna just be Big Za. I had a little music, and I had my listeners knowing me as BossMan Dlow. I didn’t wanna throw them off so I just kept it.
What about “Slide” by H.E.R. helped you get through being locked up?
When I heard it, I just had to go by myself and zone out. I picture me just seat laid back, foreign car, I’m on [Interstate] 95 talking to this b—h and good za. I’m just sliding and handling business. That song put me in that mode for real. I used to play a lot of Roddy Ricch too.
[embedded content]
What are some of your 2024 goals? [Is there] Another project on the way?
We’re trying to go on tour, bro. We trying to get this tour right. We trying to get to the arenas and sell out arenas and make better music. We gon’ stay consistent. We gon’ keep it rolling. Another tape and we gon’ have an album this year too.
Bossing up, what other ventures do you have lined up to create avenues for income outside of music?
I want a trucking business. We gon’ rent and sell cars. We gon’ buy property houses. We gon’ build houses. We gon’ own car washes and restaurants. We gonna do it all. I want every store you pass to be Dlow’s establishment. You could come work for Too Slippery Entertainment.
A version of this story originally appeared in the March 9, 2024, issue of Billboard.
Queens native and World’s Fair member Remy Banks just dropped the final installment of his champ hoody music series. His first album in three years, Banks took a break from music in 2021 after releasing the phantom of paradise. “That album was the introduction [of] where I was taking my sound,” he tells Billboard. “I […]
Drake making songs with up-and-coming artists is a story as old as time. The “Drake Effect” is a real thing and has been studied by music scholars across the globe. Usually it works in the artist’s favor, like when he linked up with the Migos on the “Versace (Remix).” The song went crazy on the charts and their careers took off. But then there are times when the song performs well, yet it doesn’t translate to longevity like with BlocBoy JB and “Look Alive.” Now it’s newcomer 4Batz’s turn.
Explore
See latest videos, charts and news
See latest videos, charts and news
Earlier this week, social media went abuzz when the Canadian superstar teased a remix of 4Batz’s “date @ 8” on his Instagram Story. Then the mysterious R&B singer with an affinity for shiesties posted this video on his X account:
Trending on Billboard
Not gonna lie, this video had me hype. I couldn’t really make out what the song actually sounded like, but they all seemed pretty excited, so I was expecting a certified banger that Flex could drop bombs on. When the Dallas-based singer appeared out of thin air with “act i: stickerz ’99′” back in the fall of 2023 (the first upload of “act i” on YouTube was on Sept. 16, 2023), a Drake collaboration felt like a no-brainer. Some have compared 4Batz to a thugged out Brent Faiyaz or Weeknd. I’ve seen others say he makes R&B music for stick up kids. And I, too, think he makes love songs for the thugs. You know, the ones that also happen to be real lovers. The thugs with big hearts, kind of like Method Man on “All I Need”.
[embedded content]
That’s why everyone saw the Drake stimmy coming from a mile away. He is the Certified Lover Boy, after all. Ultimately, though? I was a bit disappointed. Other than some fans on X complaining that the song wasn’t available in the U.S., this didn’t take over my timeline. Usually when Drake remixes a newcomer’s popular song, everything stops for a moment. However, last night most of X was still high on the Boston Celtics and Denver Nuggets game because on Thursday nights, my sports and music worlds collide on social media. The “act ii: date @ 8 (remix)” didn’t stop all of us in our tracks. I actually didn’t even think to listen to it until 12:30am. My timeline usually explodes around midnight when some heat drops. That was a telling sign for me. So once I finally checked it out, I was let down.
The remix as we know it has changed. There was once a time when a remix meant a different beat and new verses. Nowadays, we get a verse tacked on to the original song. The aforementioned Method Man and Mary J. Blige song is actually the remix to the original album version in which MJB doesn’t make a appearance. No one remembers the OG version. The same can be said about Craig Mack’s “Flava In Ya Ear (Remix)” where the beat was the same, but Craig Mack added a new verse to go alongside verses from Biggie, Rampage, LL Cool J, and Busta Rhymes.
This track has some of those features, but they aren’t significant enough to make a big deal about. Drake’s contribution, while good in terms of sound and bars, feels stitched on like bad patchwork. We don’t even get a new verse from 4Batz. This feels like two different songs and is essentially a home game for the Canadian rapper in that it doesn’t challenge him. It’s almost too on the nose. Drake does go into his real yearner bag, though, and delivers a good verse. “A thousand on your f—kin’ hair/Two hunnid on your f—kin’ nails,” he croons, essentially reminding 4Batz that he’s dealing with cats in different tax brackets now. It would’ve been cool if 4Batz added a verse to 40’s breakdown. These two collaborating on, say, “act iv” would’ve hit much harder, hopefully they’ll work together in the near future. I must admit, though, Drake’s addition sounds great on some good speakers, streets just needed 4Batz to go in too. That would’ve knocked this remix out of the park because these two are a match made in Thug Matrimony.
Shouts to the real lovers, the real yearners, the real tricksters, though. I’m calling it now, Thug Love is making a comeback this summer. Somebody get Ja Rule and Bobby Brown on the phone.
The LA rapper’s long-awaited sixth solo album rarely misses.
From Cardi B‘s Missy Elliott-nodding “Like What” freestyle to RAYE‘s Brit Awards sweep and the kickoff of Nicki Minaj‘s highly anticipated Pink Friday 2: Gag City World Tour, it was a very eventful week for hip-hop and R&B. As usual, New Music Friday (Mar. 1), unleashed a tidal wave of new music, including a terrific new LP from ScHoolboy Q, a feisty new single from Chlöe Bailey and blistering EP from Meek Mill, which landed at the tail end of a social media spiral following the latest lawsuit against Sean “Diddy” Combs.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from 4batz‘s latest low-key anthem to Samara Joy’s impressive entry into the 2025 Oscar race. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Trending on Billboard
4batz, “act iii: on god? (she like)”
[embedded content]
Any baseball player would tell you hitting a home run in each of their first three at-bats is nearly an impossible feat, but 4batz has accomplished the musical version of that. With “Act III: on god? (she like),” the atmospheric R&b singer-songwriter delivers more sweet vocals that rain from the clouds and aerate through his Black Shiesty ski mask. The Texas native heavenly croons about a toxic love, creating a paradox with the menacing visual featuring 4batz mobbing in the streets with his homies, only adding to the artist’s mystique. To quote the great hip-hop life coach Fat Joe, yesterday’s price is not today’s price, as record labels continue to wave lucrative checks looking to entice the rising talent to sign on the dotted line.
ScHoolboy Q feat. Rico Nasty, “Pop”
[embedded content]
It hasn’t even been a week but Blue Lips is already a career highlight for ScHoolboy Q — quite possibly a career-best effort. On “Pop,” a shape-shifting, rock-infused collaboration with Rico Nasty, Q plays straight offense, using the grimy boom-bap beat to soundtrack his and Rico’s snarling declarations of dominance over everyone in their way, inside and outside of the rap game. “Put fifty in that, n—a, a hunnid in this, I never could miss/ N—a, we jump out that b—h, yeah, check off the list/ You rappin’ this, n—a, we really do this,” he ruthlessly spits.
That Mexican OT & Moneybagg Yo, “Twisting Fingers”
[embedded content]
Texas Technician, the new album from That Mexican OT, is a loving tribute to his hometown and Southern hip-hop at large, and the Moneybagg Yo-assisted “Twisting Fingers” is an instant standout. The Bay City, TX & Memphis, TN link-up takes place across a laid-back beat — crafted by Bankroll Got It, Ben10k & Danes Blood — that’s reminiscent of old-school Texas rap. That Mexican OT and Moneybagg trade bars about staying true to their gangbanging roots, regardless of how famous they might become. “This s–t get gangster, ain’t no prankin’, outstandin’ member, high rankin’ / If you’re standin’ on what you rep, then twist your fingers like sign language,” Moneybagg closes his verse. Equal parts menacing and funny, “Twisting Fingers” is a stellar balancing act.
Skepta & Portable, “Tony Montana”
[embedded content]
The intersection of grime and Afrobeats has long been a fruitful one, and “Tony Montana” is another strong addition to that legacy. The latest single from Skepta’s forthcoming Knife and Fork LP, “Tony Montana” finds the Brits-nominated rapper joining forces with rising Nigerian rapper Portable for an anthem celebrating their respective impact and influence. With a title that directly alludes to the iconic Scarface character, the relatively jaunty production — courtesy of Jae5 — makes for a welcome sonic contrast that also provides a multilayered soundscape that pairs well with both Skepta’s cocksure flow and Portable’s slinky hook.
Samara Joy, “Why I’m Here”
[embedded content]
An original song for Netflix’s forthcoming Shirley — a biopic of Shirley Chisholm (the first Black woman to be elected to Congress) starring Oscar-winner Regina King in the titular role — “Why I’m Here” continues Samara Joy’s flawless streak of truly spellbinding vocal performances. Produced and co-written by Grammy-winner PJ Morton, the new song finds the jazz star taking a break from her home genre and briefly transitioning into a sweeping, cinematic sound that seamlessly carries her soulful pipes into a more straightforward pop realm. “An easy road was never promised/ And so much has been from taken from us/ But I won’t stop no matter how much I have to go through/ I won’t shed one tear, I know why I’m here,” she croons.
Asha Imuno, “Oozin…”
[embedded content]
22-year-old Moreno Valley, CA native Asha Imuno is on the rise, and “Oozin…” — a cut from his sophomore effort, Pins & Needles — is proof of why. In the contemporary R&B space, the word “oozin” has a sexual connotation more often than not. Here, however, Asha flips the phrase to refer to the anxiety and depression that pour out of him in moments of silence and aloneness. “Oozing/ The anxiety subsides in the moment the dream becomes lucid / & Bruises/ That I can’t hide in this light/ Quantify all the times I felt useless,” he coos in the heartbreaking chorus.
From 126-song mixtapes (looking at you, French Montana) to the media blitz of Tyler Perry’s Mea Culpa starring Kelly Rowland and Trevante Rhodes, the past week has been a characterstically busy one for the worlds of hip-hop and R&B. With awards season firmly in the rearview mirror and the Super Bowl over and done with, we’re in a period of relative calm before festival season kicks off in earnest.
Until then, we’ve spent the last week fawning over Tyler, the Creator‘s campy new collection for Louis Vuitton, where Pharrell Williams currently serves as men’s creative director. Speaking of the legendary artist-producer, Williams has also been teasing a forthcoming new collabortion with Miley Cyrus, who he previously joined forces with on 2013’s Bangerz and 2014’s G I R L.
Trending on Billboard
Of course, we can’t forget about Jeezy‘s smooth Tiny Desk performance, which saw the veteran flipping his trap anthems into soulful, stripped-back arrangements. And the news cycle hasn’t been entirely positive, with Drake taking to his Instagram story early this morning (Feb. 26) to post what appears to be a call for the release of Tory Lanez — who was sentenced to 10 years for shooting Megan Thee Stallion in the foot (Aug. 8, 2023) — from prison.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Usher‘s vulnerable new Coming Home track to Rhyan Dougas’ contemplative ode to the cyclical nature of romance. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Marlon Craft & Method Man, “Muggsy Bogues”
[embedded content]
Whenever Method Man gets on a track, it’s going to be an event. On “Muggsy Bogues,” named after the shortest NBA player in history, Meth and independent New York rapper Marlon Craft spar over a dark, gritty beat crafted by Arbus and Moo Latte. “I pulled up in the Muggsy Bogues with the pennies/ ‘Cause I’m short on time, so don’t be short on a penny/ In our New York, they would envy the flavor/ Now it’s a bunch of white girls callin’ delis bodegas,” Craft opens his verse. There’s a lot about this track — from the chugging drums to the emphasis on dense, almost understated wordplay from both rappers — that’s unmistakably New York. It’s regional in a way that beckons to prime of East Coast rap while still feeling fresh enough to secure a place alongside contemporary iteration’s of the city’s classic sound.
Usher, “Naked”
[embedded content]
So much of Usher’s musical and artistic persona is predicated on his multilayered relationship with sex that when he flips that entire concept on a song as disarming as “Naked,” it’s a particularly stunning moment. “When we strip down, can’t run from real truth/ When we strip down, we gotta face it/ Until I get it right, I’m not gon’ lie/ I’ma need me and you tonight to be naked,” he croons over a lush combination of wailing electric guitar, steady percussion and sultry bass licks. Here, Usher — the man behind such bedroom classics as “Bedtime,” “Hey Daddy” and “Trading Places” — tempers the “sex-a-holic” label with an exploration of his youth, a time where he would try to find his “manhood inside a woman’s body.” It’s heady stuff, sure, but it’s also easily the best song on the new expanded edition of Coming Home.
SiR & Isaiah Rashad, “Karma”
[embedded content]
Just a few weeks after unleashing “No Evil,” SiR has recruited TDE labelmate Isaiah Rashad for “Karma,” a continuation of his emphasis on self-reflection as he ramps up the campaign for his forthcoming fourth studio album, Heavy, due out Mar. 22. “Ooh, I need to stop treating hoes like I need ’em/ I’m too busy making promises when I can’t keep ’em/ It’s time I slow this ‘Llac down to a hunnid/ I keep making the same mistakes when I should be learning from it,” he croons over atmospheric piano and skittering kick drums. Additionally, Rashad delivers a strong verse that nicely complements SiR’s lyrical allusions to a Biblical take on karma.
Ray Vaughn feat. Pusha T, “Problems”
[embedded content]
It may only be February, but TDE is on a mission to own 2024. With their second of three entries on this week’s column, Ray Vaughn links up with Pusha T for the sparse “Problems.” Over a synth-inflected, somewhat mournful beat crafted by Rayo & WizzleGotBeats, the rappers play their respective roles of rookie and elder statesman. Ray Vaughn spends his verse firing off heated shots to those who deride him as a “backpack rapper” (“Let ’em label me a backpack rapper turned to a school shooter/ All they top five get hit, unless they cool tutors”), while Pusha exudes a complementary cool that underscores his words of advice for longevity in the rap game. “Listen, Ray Vaughn, be clear of your peers/ ‘Cause in a couple years it’d be musical chairs/ We done seen n—as panic and show us they tears/ Reminiscin’ over hits but the money ain’t there,” he spits.
SZA, “Saturn”
[embedded content]
After debuting this track during the 2024 Grammys, SZA has finally uploaded “Saturn” to digital streaming platforms. An instant fan favortie, “Saturn” — co-written by SZA, Carter Lang, Rob Bisel, Solomonophonic and Monsune — finds the four-time Grammy winner musing over the possibilities of starting life anew on Saturn, after being faced with little but devastation on Earth. “Stuck in this paradigm/ Don’t believe in paradise/ This must be what Hell is like/ There’s got to be more, got to be more,” she croons over a characteristically ethereal beat bridging R&B, pop and alternative.
Hunxho & Summer Walker, “Your Friends”
[embedded content]
Atlanta rapper Hunxho is getting ready for what could be a major breakout year, and this new Summer Walker-blessed version of “Your Friends” is sure to keep up his momentum. “Your Friends” was arguably the biggest hit from Hunxho’s For Her album, and this new remix with fellow ATL native Summer Walker adds a woman’s perspective to its exploration of the thorny dynamics that emerge when friendships bleed into romance and vice versa. “Y’all n—as no better, no cheese, no cheddar/ Be concerned what your homies tellin’ me, I deserve better/ Be concerned with your homies blowin’ me, writin’ love letters,” she warns Hunxho over Avedon & Diego Ave’s moody trap beat.
Rhyan Douglas, “Spin the Block”
[embedded content]
The phrase “spin the block” has been run into the ground in recent years, so it takes a special artist — like one Rhyan Douglas — to pull something fresh and real out of that trio of words. A love song with two feet placed firmly in the technology-steeped romance waters of the 2020s, Brampton native Rhyan Douglas croons about the wealth of opportunities that could arise should he bite the bullet and spin the block on a former lover. “But you spin the block/ If all I did was fix up, I’m tryin’ hard/ I’m tryin’ not to give up on you/ Forgot we crossed our lines,” he coos over dry acoustic guitars that recall the best of Daniel Caesar’s stripped-down moments.
As one of the most influential and outspoken voices in Latin music, Residente has consistently pushed the boundaries of Spanish-language rap. Whether exploring the depths of human emotion and societal issues through his art, or pissing off mainstream reggaetoneros via hard-hitting tiraderas, there’s no denying that one can’t turn a deaf ear to the artist born René Pérez Joglar.
With his second full-length solo album, Las Letras Ya No Importan (or Words No Longer Matter) — released via 5020 Records, following his 2017 eponymous debut — Residente‘s evolution from a genre-bending rapper to a multifaceted artist and cultural commentator is unmistakable. This latest work, released Friday (Feb. 23), embarks on an exploratory journey through sound, emotion and critical opinions, featuring a diverse roster of collaborations that span genres and geographies, from SFDK in Spain to Christian Nodal in Mexico and Amal Murkus in Gaza.
Among the standout tracks, “313” emerges as a deeply personal ode to the passage of time and the preciousness of life, inspired by a friend’s passing and Residente’s own reflections on growing older. “Time is becoming more and more relevant in my life,” he tells Billboard Español.
Trending on Billboard
“Bajo Los Escombros” offers a poignant look at the Palestinian struggle, crafted amidst the backdrop of conflict with contributions from musicians in Gaza and the voice of Murkus. “Jerga Platanera” dives into the linguistic intricacies of Puerto Rican and Dominican slang, while “El malestar en la cultura” and “Artificial Inteligente,” contemplate the evolution of rap and the intersection of humanity with technology, respectively. This album not only underscores Residente’s commitment to musical and thematic experimentation but also highlights his role as a visionary in the ever-evolving landscape of the música urbana genre and beyond.
During our interview at his home in Lower Manhattan, Residente’s living space mirrors the diversity and depth of his music. Surrounded by an eclectic collection of books — ranging from Apocalypse Now to José Parla’s Segmented Realities, and The Wes Anderson Collection — and art adorning the walls, his environment is a testament to his wide-ranging influences. The skylight and balcony overlooking the Hudson River offer a glimpse into the serene backdrop of his creative process, while his dozens of Grammy and Latin Grammys on display serve as a testament to his enduring impact on the music industry.
Dressed casually in baby blue corduroys, a matching t-shirt, and a baseball cap, accented with a chain and silver whistle, Residente’s demeanor is as relaxed and approachable as it was thoughtful, as he reflects to Billboard the depth and diversity of his latest album. By the way, today (Feb. 23) is his birthday.
You have a lot to celebrate: your new album, your new music video, your debut as a lead film actor, your birthday. How are you going to spend it?
I think I’m going to go to a bar with family and friends, quietly. I am happy with the result of the video and the theme of “313.” It is an example of what I want to do more of. I’m going to celebrate that, the video, the album and what’s coming in the future as well.
Your video for “313” is visually stunning. It also features Penelope Cruz.
I always think about the visuals when I write songs, regardless of whether I make videos for them or not. Some people make videos for the song; I think I make music for the video. All the time I’m thinking visually and that’s where I compose the music. In this case I started to make the music and I was writing the ideas, adjusting to the weather conditions. It was quite difficult to shoot in November in Madrid, there is not much light. It snowed, it rained, everything happened during the shoot. That slows you down and the delay costs money. When you’re directing you have to think as a producer, writer, editor, and actor. I’m thinking about everything at the same time.
[embedded content]
I have Penelope Cruz also in the video, and Silvia Cruz singing. We connected super well when I met [Penelope]. I also met her husband Javier [Bardem], and I’m a fan of both of them. I love what they do, they’re tremendous actors and they have a super nice family. I originally said, “I’d like Penelope to be in it.” I talked to her and she said yes. Little by little she connected with the song.
The inclusion of violins in that track and the guitar strings you use in others are beautiful and show a musical diversity along with some boom-bap beats. How do you decide which instruments or sounds to use in your compositions?
The album has songs that are older, and I had other songs that didn’t [end up on] the album because I didn’t feel they are connected to this moment now. When “René” came out four years ago, I was going to release an album at that time and, well, now I’m releasing them. Now I do have songs that feel like they are more relevant today, like “313,” “Artificial inteligente,” “Quiero Ser Baladista” or “Bajo Los Escombros.” All these have cello, double bass, all this musical stuff. It seems to me that it is an album that marks a transition, as it happened with Calle 13’s second album, Residente or Visitante, which marked a moment. After that, everything was different.
[embedded content]
With your second studio album following your acclaimed 2017 debut, how do you feel your music and message has evolved in this latest work?
In this album I feel that the message comes more from my own experience. It is a very personal album, like “313” which is about enjoying this moment. I had a lot of losses last year and the year before. People I love died and everything I’m talking about enjoying all this comes from that experience in the past. And the last record was world music meets rap. This record is the more vulnerable part, like “Rene,” “313” or “Ron on the Floor.” It’s much more open in soul and spirit than before. I’ve always been open, but this time I’m more with the openness.
Upon entering your home, it is impressive to see the amount of Grammys and Latin Grammys you have won. How do you maintain your passion for music after so much success?
I maintain my passion with therapy, trying to do different, creative things that fulfill me. I feel a little tired as an artist, I’ve been doing this for a long time. I want to dedicate myself more to filmmaking, screen writing, experimenting, acting. Now we have a film out at Sundance, which won the Grand Jury prize. It’s called In the Summers. I’m the lead actor, I’m surrounded by spectacular actors and actresses who taught me a lot. I loved it. And the directing part I always love. I think that’s what keeps me motivated and inspired to keep working. It’s moving, doing other things within music as well.
How do you see the current state of Spanish-language rap and its culture, and how does your album contribute to this conversation?
One is a tool, and the other a genre that has rules and a culture that is respected. The discussion that was unleashed based on the list [of essential rappers in Spanish published by Billboard] seemed immature on the part of some of my colleagues. I think rap deserves to evolve as much as possible. I separate rap from hip-hop a lot. For me, [hip-hop] I see it as a genre where the tool of rap is used. That’s what I do.
I’ve never pretended to be of any specific musical genre, nor do I care. Never, since Calle 13, and right now, I’ve never wanted to be pigeonholed. I’m not a singer because I don’t sing, I rap, so I use the tool of rap. My album is for all the little kids who want to be rappers, who can’t sing but want to say things, and through rhyme is an alternative. And I’m doing well; I’m proof that you can do well doing different things, rapping, making music, making it evolve.
[embedded content]
The future of rap, if it continues to be overprotected — is like protecting a child so much that it won’t know what to do when it grows up. So it’s the same with the music genre. You have to feed it new things, get it out there, let it evolve and move. It will continue to evolve, if not, it will stay there and other genres will come along and pass over it. It’s important, so that it doesn’t overtake it, and so that the kids who want to write rap can experience their creativity to the maximum, and take it to the maximum, as high as they can.
Listen to Las Letras Ya No Importan here:
The Super Bowl halftime show is arguably the biggest convergence of music and sports in a given year, but that’s not the only forum in which the two industries are colliding. Following in the footsteps of major artist-athletes like Shaquille O’Neal aka DJ Diesel and Damian Lillard aka Dame D.O.L.L.A., Chad Thomas aka Major Nine is looking to continue leveling up his athletic and musical careers while prioritizing independence at every turn.
After playing as a defensive end for the Hurricanes at the University of Miami, the Cleveland Browns selected Thomas in the third round of the 2018 NFL Draft. He was the sixth defensive end drafted that year, and the 67th overall pick. A year before he became a national football star, however, Thomas was already making major waves in the music industry under the name Major Nine.
Trending on Billboard
In 2017, he scored a placement on Rick Ross’s top five Billboard 200-charting Rather You Than Me album (alongside Grammy-winning R&B singer-songwriter Raphael Saadiq) on the grand album opener “Apple of My Eye.” Ross’ By 2020 – the same year the Browns waived his multi-million-dollar contract – Major Nine snagged yet another high-profile placement, this time on Chris Brown & Young Thug’s Slime & B, which peaked at No. 24 on the Billboard 200 and earned nominations at the Billboard Music Awards and Soul Train Music Awards. With “Trap Back,” his joint on the album, Major Nine did what comes naturally: He leveled up, and contributed not just production assistance, but a credited guest verse as well.
As much as Major Nine has made waves through collaboration, he’s remained steadfast in pumping out projects of his own. Since 2018, he has released nine such sets – including 2019’s star-making Soulties – culminating in his two most recent: 2023’s Nothin Major and this year’s Kardiology. The former is Major Nine’s most radio-ready body of work to date; featuring emotionally vulnerable heaters (“Love Don’t Live Here,” “A Hustler’s Prayer”) and a splashy Kodak Black guest verse, Nothin Major boils down the best of contemporary Florida rap into something for the whole country to enjoy. The latter, Kardiology, is arguably Major Nine’s biggest artistic swing yet, an emotional 13-track Miami bass-laced journey through the throes of love.
In a new interview with Billboard, Major Nine discusses his new Kardiology project, moving through multiple industries as an artist-athlete and the ever-deepening union between the worlds of music and sports.
Obviously, you began your time as a public figure by way of football. Was music always on your mind? Or were you more focused on the athletic side of things?
I actually started music first. I’ve been doing music since I was a baby, so that was No. 1. And then football became No. 1 in high school. I was playing before that, but it got serious in high school.
What are some of your earliest musical memories?
My pops, he bought me a drum set, like the little kid drum set. That was probably my first drum set. Growing up, at my grandma’s house, she had a little piano in her house. It was a baby grand, something like that. [Those were] my first instruments: drums and piano. I made it into all of the magnet schools in South Florida. I ended up going to one of the biggest ones down there: New World School of the Arts. That was a big accomplishment, being where I’m from. A lot of people don’t make it into that school.
Music adds up different ways, I done did too much stuff with music. [Laughs.] My last time being in New York, we performed at Jazz @ Lincoln Center.
What do you remember listening to growing up? Who and what were the defining artists and songs of your childhood?
Anything ‘80s R&B. S—t, I’m from Miami, so Trick Daddy, Rick Ross, all the Miami moguls, the South Florida moguls. A little bit of West Coast. My music goes everywhere. I got Metallica in my library! I done listen to all types of music growing up, gospel music, Kirk Franklin. It go left and right.
As football took you across the country, did you pick up any new musical influences from different teammates or cities? Especially during your time with the Browns?
It was kind of backwards for me, to tell the truth. When I first touched down in Cleveland, my first apartment, the man at valet, he actually knew who I was. He was a producer and we tapped in. When I got to Cleveland, I tapped in with my teammates, and a lot of my teammates supported and are fans of my music. Actually, they was waiting on my new music, they weren’t really putting me onto people.
Sometimes, it’s like that. They’ll put me on to a person that’s back home. I done got put onto a bunch of artists that’s actually superstars now, and it was before their time. Football connects you with different cities.
[embedded content]
You scored a production placement on Rick Ross’ Rather You Than Me (2017). Walk me through how you put that track together and secured that placement?
That relationship been going on since I was in high school, definitely locked in with the whole MMG family, Rick Ross and everybody. I can’t really tell how the songs come about, they just call me and say “We need a verse” or “We need a beat.” You know I’m on go because that’s family. It wasn’t really no big thing about it. I went in and did my verse, sent it back to him, he loved it. When I did the beat for “Apple of My Eye,” he loved it. We got a bunch of work together. When that popped out, I was just ecstatic.
Are there any skills you find yourself bringing from the sports world to the music world or vice versa?
Always. Music and football taught me a lot about life. With football, doing certain drills and just having that pattern of skill. You gotta know numbers. It definitely goes hand-in-hand because ballers is gonna be ballers. The ballers that’s in the field gonna be the ballers that’s in the studio. Jarvis Landry is probably one of the best rappers I’ve ever heard.
If I was to bring music to football, I would just be tapping in with people. Football players got feelings too, they listen to music and get in their vibe. Who better to relate to than your teammate? They’re actually doing it.
Why is your independence as an artist important to you?
[Because] I’ve done music my whole life, part of that was learning how to do so much stuff and be that team for myself. Now that I actually have a team and label that I created, it’s easier for me to stay independent and learn how to build my company, so I could be one of the big companies or be on the level where they is. [Independence] is perfect. It’s big. It’s big to me, it’s big to the people around me because they understand how much more money you can make and how much business you can control or how much leverage you can have once you’re independent.
How do you compare your experiences on the business side of music versus the business side of sports?
As a kid growing up in South Florida, business is not taught to us with sports. Yes, it’s monetized, you grow up and you gangsta and they gon’ look out for you. But business is not taught to us.
When it came to football and I made it to the league, yes, I understood the business, but I kind of lost love for football because the business that goes into it – your whole life is a game, but once you get to a certain age or just before then, your fate is in another man’s hands. With music, I can’t control it, but I can express myself and God gave me a gift to be able to be at a level where people support me for my gift.
You put out Nothin’ Major late last year, and that featured the focus track “Shawty” (with Kodak Black). How did that collaboration come together and why was it chosen as the focus track?
I recorded my part in LA [probably two years ago] and I sent it to Kodak and he sent it right back. The next time we seen each other face-to-face was at another studio in Miami. It was supposed to have been his song, but I don’t how it went and came back to me and brodie was ready to drop it. Me and Kodak, we always doing business. That’s just that Broward-Dade County connection. It was a blessing man.
A lot of people mess with Kodak — besides all the other stuff, that’s a good person, I know him for real. Him getting on that song… we connecting different parts of Florida. When T-Pain and Plies did it, that was more Fort Myers and Tallahassee. We giving that Dade County/Broward vibe, that’s a Florida classic.
[embedded content]
Why is it important for you to rep your hometown?
I praise Florida, I praise Dade County. I’m from Liberty City, I’m from Miami. It ain’t no really big rappers out of Liberty City for real. The biggest we could go is Uncle Luke, and Uncle Luke opened doors for so many people, so many generations after him. To be from Miami and be from a birthplace of many styles and a lot of music that’s been sampled over the years, it’s big to let people know I’m from the 305. Florida, baby! We gon’ rep Florida wherever we go. And we got a different vibe too.
Miami, South Florida, all that music has been ringing for years, but we getting a different type of buzz now. Just being one of the people that created some of this buzz, it’s big to me and it’s big to everybody. So, I’m definitely gonna rep all my people. I’m gonna rep the whole Florida not just South Florida.
Who’s on your Mount Rushmore of Florida rappers?
I’m gonna go Trick Daddy, Rick Ross, JT Money — I’m gonna leave myself out cause I have a mountain by myself – Ice [Billion] Berg.
You recently dropped Kardiology (Feb. 16). What was your vision for the project and what are your goals for it post-release?
These songs, I already had down. Some songs I added on there because we always recording. The focus on the whole project was just… these not your typical songs about love. It won’t come out that way.
Every time you listen to a different track, it would give different directions of love or how love could have messed a person up or messed a situation up. These songs speak to the people, it’s a song on there for everybody. There’s a lot of Miami-style songs — I’m from Miami, so you know I gotta put that dance in some of the songs, the bass, the DJ checks, different stuff like that.
I was supposed to start the whole Kardiology rollout probably around 2022, but this is a great start.
[embedded content]
Why the delay?
It was the directions of the songs. I record songs, but I’m not the type of person to just throw stuff on the tape and just put it out. I want to make sure you can actually have a no-skip tape. It was a whole wait. And then the direction of the videos, the treatments, the whole marketing plan behind what we’re gonna do with Kardiology – it’s more stuff we gotta do. We got scrubs, I’m gonna play a doctor in one of my videos. We having fun with it.
We’re seeing the sports and music worlds continue to bleed more and more into each other every year, especially since Roc Nation and the NFL partnered for the Super Bowl halftime show. What do you make of that dynamic and how do you think it can best help artist-athletes like yourself?
Exposure, that’s the biggest thing about anything we do. People want exposure, they want the world to see what they can do. These artists been out here, but the world goes so fast. That exposure collides the worlds and makes it easier for the right people to be in the same room. What they’re doing right now is big. I hope it grows until more independent artists are brought to these stages.
Do you have any advice for other athletes looking to get into music or artists trying to get into sports or people who are just trying to balance both?
Don’t plan on having a life. That was kind of my biggest thing since I’ve been doing music since high school. Once I started making music seriously in tenth or eleventh grade, that was my way of not going outside, because I was a kid [who] was always outside. You gotta understand that what’s important gotta stay important. And if it’s gonna be important, you can’t worry about the people around you and say they’re not supporting you or you’re not getting that push that you need. You got to be that push. You got to be everything for yourself. That’s what I mean, you ain’t really going to have no life. I’m just starting to live!
People know me for “Okay, we’re gonna go make a tackle, get a couple of sacks, then come home and drop a hit.” If you’re gonna do it, do it. You’re gonna see the world change and you gonna realize that it’s easier to get that money if you really took it seriously.
Against all odds — and a brief disappearance from digital streaming platforms — Vultures I is finally here. The new joint LP from Kanye West and Ty Dolla $ign launched atop the Billboard 200 on Sunday (Feb. 18), while its breakout single, “Carnival,” starts at No. 3 on the Billboard Hot 100 (chart dated Feb. 24).
Although that new set, which features appearances from North West and Playboi Carti, dominated much of the conversation in the hip-hop and R&B worlds, it was far from the only thing of note to occur over the past week. On Valentine’s Day (Feb. 14) — or “Worst Day” if you’re a part of the Future Hive — Maze frontman Frankie Beverly announced his farewell tour. Beverly, of course, lent his voice to the seminal “Before I Let Go,” covered by Beyoncé for her 2019 Homecoming live album. Her version peaked at No. 65 on the Hot 100.
Trending on Billboard
In other R&B performance news, Usher added yet another new slate of dates to his ever-growing Past Present Future tour (Feb. 20) and the Roots Picnic announced their 2024 headliners, which include Jill Scott, Nas, Lil Wayne & The Roots and André 3000. On the hip-hop side of things, there’s no getting around the eye-popping new music video for Drake, SZA and Sexyy Red‘s “Rich Baby Daddy.” The clip — which has already amassed over 7.5 million YouTube views — finds Drizzy and Solána partying in a hospital while the “Pound Town” rap princess (who recently gave birth to her second child in real life) goes into labor.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Bryson Tiller‘s new heater to Rae Khalil’s tender meditation on existentialism. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Pratt & Moody & Cold Diamond & Mink, “Creeping Around“
[embedded content]
Finnish soul duo Pratt & Moody are dishing up heavy old school vibes on their new Cold Diamond & Mink-produced single “Creeping Around.” Their take on contemporary soul is infused with an especially haunting approach to melody. The grandiosity of the song’s production — built almost exclusively around Moody’s sultry guitar — evokes the most stirring of James Bond themes, while the duo’s expansive combine vocal ranges trade off fluttery falsettos with robust full-voice crooning. “We gotta stop creeping around” is a simple, but incredibly effective hook; the song’s lyrical sparseness allows the meticulous arrangement ample room to breathe, making it a flawless backdrop for the slight twang that contours each repetition of “creeping around.”
Bryson Tiller, “Whatever She Wants”
[embedded content]
After initially appearing on his Slum Tiller, Volume 2 mixtape last November, Bryson Tiller has finally unleashed fan-favorite track “Whatever She Wants” on all digital streaming platforms. Crafted with the intent to appear on a stripper’s pre-show playlist, “Whatever She Wants” finds Bryson far-removed from his heart-bearing hip-hop-inflected R&B. Instead, the Grammy nominee skates across TylianMTB-produced Detroit-inspired beat with all of the effortless swagger and braggadocio of a guy who could quite literally buy the whole club. “CC, Gucci, hit Bottega, whatever she want/ She piss me off, somehow she still get whatever she want,” he spits, somehow striking a fine balance of gruffness and seduction in his delivery.
Tierra Whack, “27 Club”
[embedded content]
Mental health has long been a lyrical touchstone in hip-hop, just as the “27 Club” — an infamous collection of celebrities who passed at age 27 — has been a figment of pop culture’s obsession for decades. Thus, the convergence of these two concepts is fairly natural, and Tierra Whack expertly tackles them both on her new track, “27 Club.” Produced by J Melodic and ProdbyBRIANNA, “27 Club” finds Tierra contemplating suicide. “When your life gets hard but it’s simple/ When everybody ’round you suspenseful/ It ain’t really hard to convince you/ Lookin’ for somethin’ to commit to?” she spits. The dark beauty of this song is that Tierra wholly rejects the notion of a happy ending or a narrative of triumph; she simply sits in the aching self-loathing, guilt and depression that comes with suicidal ideation.
Lola Brooke & 41, “Becky”
[embedded content]
Last year, both Lola Brooke and 41 dropped off full-length projects — Dennis Daughter and 41 World: Not the Album, respectively — and now the two fast-rising New York rap breakout stars are kicking off 2024 with a new collaboration. Predicated on a definition of “Becky” that refers to fellatio, the fiery drill joint marks the union of some of the most exciting voices in the contemporary hip-hop scene. Lola’s characteristically menacing delivery is a smart complement to TaTa’s boisterous ad-libs and Kyle Ricch’s high-octane flow. Of course, the “Don’t Play With It” rapper also pairs well with 41’s Jenn Carter, whose slick wordplay makes her closing verse the strongest.
Chantae Cann & Kenyon Dixon, “B-Side”
[embedded content]
Kenyon Dixon has been on something of a hot streak lately between his 2024 Grammy nomination and a recent string of gorgeous duets. On “B-Side,” his new joint alongside Billboard-charting jazz and soul signer Chantae Cann, he keeps that streak alive. Produced and co-written by Masego, there’s a throughline of sultry, “come-hither” energy that encapsulates the innate, tasteful allure of the slinkiest jazz-inflected R&B melodies. Cann delivers the hook in a breathy tone that pairs well with Dixon’s whimsical descending riffs. Who said grown and sexy R&B was dead?!
Rae Khalil, “Is It Worth It”
[embedded content]
In celebration of the announcement of her signing with Billboard chart-topping rapper-singer Anderson .Paak‘s APESHIT label, Rae Khalil has unleashed a new .Paak-produced single titled “Is It Worth It.” Built around an understated drum-laden and bass-anchored soundscape, Khalil asks “Is it worth it?/ If I show up when I want/ In the sea of the same face/ Is it worth my time, time?” The lyrical battle between her own pride and her desire for connection and yearning to be wanted and desired come to a head in the lush instrumental break that simultaneously serves as the song’s bridge and outro — talk about a stunner.
ScHoolboy Q, “Yeern 101”
[embedded content]
Q’s new LP, Blue Lips, arrives in just under two weeks, and the Grammy-winning rapper is amping up his rollout. Built around a skittering, bass-blaring beat crafted by Cardo, J.LBS, Johnny Juliano & Yung Exclusive, “Yeern 101” finds the TDE star effortlessly skating over the track with a borderline breathless flows. There are no easy hooks or choruses here, these are two heady voices chock-full of smart wordplay, high-speed flow switches and sly changes in inflection and intonation — both of which are elevated by the ever-intensifying instrumental. “I’m a n—a out here, everything come free/ I ain’t never met God, but I bet he know me/ Put the money in a set, a n—a die in them streets/ Threw the boy alley oop, now he ridin’ on fleek,” he spits.