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To borrow a phrase from our foremost cultural observer, Azealia Banks, the boys are fighting.
Since the explosive drop of producer Metro Boomin and rapper Future’s first joint album, We Don’t Trust You, on March 22, a cold war has broken out involving the duo and the rest of hip-hop’s top-tier (male) millennial roster: Drake, J. Cole, Kendrick Lamar, and A$AP Rocky. It’s been a strange few weeks, with shots being thrown in an extremely public and increasingly amusing way. In an utterly baffling move, Cole made a public apology for his own diss track, bowing out of the beef early. Meanwhile, like any argument you might see among a group of rich women on Bravo, Drake is being put on blast for his rumored plastic surgery. (Thank you, Megan Thee Stallion.)
This isn’t the first time this particular group of A-listers — all of whom dominated the mainstream rap charts of the 2010s — have exchanged lyrical blows. In particular, Drake and Lamar have sneak-dissed each other for a while now. However, to the average music listener, all these men have a more well-known history of collaboration, including features, a joint album, and tour stops. Lamar’s fiery verse, however, on the We Don’t Trust You track “Like That,” has shattered any remaining semblance of camaraderie.
In the weeks since, Future and Metro have released yet another rage-fueled album, hilariously titled We Still Don’t Trust You. Drake clunkily released his own sprawling diss, “Push Ups,” name-dropping everyone from SZA to Maroon 5 to Swifties. (Did I mention Uma Thurman is also involved?) Lamar responded with two back-to-back disses: first, the scathing track “euphoria,” and, later, “6:16 in LA,” which had a surprising producer credit from Taylor Swift’s righthand man, Jack Antonoff. Over the weekend, though, tensions between Lamar and Drake reached a fever pitch. The rappers exchanged several explosive diss tracks with some pretty dark, criminal allegations. And on Tuesday, Toronto police reported a shooting near Drake’s mansion (but not involving the rapper) that may or may not be related to the feud.
After nearly 15 tumultuous years in the game, it’s no surprise that Drake has once again found himself on the receiving end of some hate. At first, it seemed like this latest feud was exactly what rap’s sensitive king needed in a rather uninspired era in his career, defined by a rather dull musical output and gross jabs at women. However, following Lamar’s verbal lashings, a PR cleanup may be needed.
Who’s beefing with who?
A few weeks ago, Future and Metro essentially released a breakup album from their frequent collaborator and former comrade, Drake. (Drake and Future have nearly 30 collaborations combined, and Metro executive-produced their 2015 mixtape What A Time to Be Alive.) We Don’t Trust You is packed with subliminal messages seemingly directed at Drake, regarding his shady maneuvers. However, it was Kendrick’s relatively gentle prodding on the track “Like That” that was ultimately the most incendiary.
On the track — which has sat at No. 1 on the Billboard Hot 100 for three weeks in a row now — he raps “Motherfuck the big three, it’s just big me,” renouncing his informal association with rap peers Drake and Cole. On the recent Drake song “First Person Shooter,” off his latest album For All the Dogs, Cole claimed on his guest verse that he, Drake, and Lamar are the “Big 3” of the current era of hip-hop. Nevertheless, Lamar’s ire on “Like That” is mostly pointed at his noted frenemy Drake, brushing off his purportedly unstoppable commercial success. “Your best work is a light pack,” he asserts. “N—, Prince outlived Mike Jack.”
Cole responded first on April 5 with the track “7-Minute Drill,” featured on his aptly titled mixtape Might Delete Later. Cole throws shots at Lamar’s Pulitzer Prize-winning discography, calling his latest album Mr. Morale and The Big Steppers “tragic” and claiming his Grammy-winning sophomore album Good Kid, Maad City “put [listeners] to sleep.” He also promises to “humble” Lamar if “push comes to shove.”
However, by April 10, Cole had rescinded his warning shot, including removing “7-Minute Drill” from streaming platforms. At his annual Dreamville Festival, he issued a heavily mocked quasi-apology to Lamar. “I tried to jab [Lamar] back, and I try to keep it friendly,” he told the crowd in North Carolina. “But at the end of the day when I listen to it, and when it comes out and I see the talk, that don’t sit right with my spirit.”
Before Drake could unleash his own diss, Future and Metro released the follow-up, We Still Don’t Trust You, on April 12. This time, A$AP Rocky got some punches in. On the song “Show of Hands,” he rapped “N—s in they feelings over women. What, you hurt or something? I smash before you birthed, son. Flacko hit it first, son.” This is presumably a response to Drake apparently dissing A$AP and his partner Rihanna, whom Drake previously dated, on his song “Fear of Heights.” (Fans have also speculated that A$AP means he previously slept with the mother of Drake’s son.)
Another one of Drake’s most famous industry mates, The Weeknd, appears on both Future and Metro albums. However, on We Still Don’t Trust You’s eighth track, “All to Myself,” he sings, “I thank God that I never signed my life away.” Fans interpreted that as a jab about Drake’s label OVO Sound, which, despite his heavy association with the label, The Weeknd ultimately never signed to.
Who is Drake dissing on “Push Ups”?
On Saturday, April 13, Drake’s long-awaited response titled “Push Ups (Drop & Give Me Fifty)” mysteriously made its way to the internet. The seemingly unmixed demo made many social media users speculate whether the song was AI-generated before noted hip-hop commentator DJ Akademiks eventually played it — noticeably with some tweaks, like the omission of a line about P. Diddy and a different beat — on his livestream. Hip-hop radio station Power 105 also streamed a high-quality version of the song. Given Drake’s comments on Instagram over the weekend, including a photo of Uma Thurman single-handedly taking on a group of fighters in the 2003 film Kill Bill, all signs point to the track being legitimate.
That said, “Push Ups” is a hefty (and expectedly humorous) diss record, taking aim at Drake’s aforementioned opps while pulling some other parties into the crossfire. One of them is the Weeknd’s manager, CashXO, who he accuses of “blowing Abel’s bread trickin.” He also takes shots at Memphis Grizzlies player Ja Morant, who fans are speculating he was previously in a love triangle with.
In probably the silliest development of this multi-pronged feud, he throws some digs at rapper Rick Ross, another frequent collaborator of his. “This n— turning 50,” Drake raps. “Every song that made it on the chart he got it from Drizzy.” Ross swiftly followed up with his own diss called “Champagne Moments,” which quickly went viral. Among other insults and accusations, he calls Drake, who’s mixed, “white boy” and claims he got a nose job.
As for Lamar, Drake offers a pretty comprehensive rebuttal, poking fun at Lamar for apparently wearing a “size 7 shoe” and his collaborations with pop acts like Maroon 5 and Taylor Swift’s “Bad Blood.” (Lest we forget, Drake has also linked up with Swift for a check.) He also names some artists who he feels have surpassed Lamar’s stardom, including SZA, who’s signed to Lamar’s own Top Dawg Entertainment label. (She apparently doesn’t want to be involved.) There’s also a bar that many listeners, including DJ Akademiks, interpreted as an audacious mention of Lamar’s fiancé, Whitney Alford (“I be with some bodyguards like Whitney”). However, this could also be a misreading of a more obvious reference to the Whitney Houston film, The Bodyguard.
Drake’s latest round with Kendrick took a particularly dark turn
Ahead of Lamar dropping his response, “euphoria,” Drake released another diss track for Lamar on April 19 called “Taylor Made Freestyle” using AI-generated vocals from 2Pac and Snoop Dogg to “spit” on his behalf. Drake’s weaponization of artificial intelligence, specifically regarding the deceased Tupac Shakur, generated mixed responses online. Some fans were amused by his “innovation,” while others, including Snoop, seemed downright confused. However, after his and Lamar’s most recent round of disses, these criticisms would be the least of his concerns.
On April 30, Lamar finally dropped his rebuttal titled “euphoria” on streaming platforms. He spends most of the 6-minute track poking holes in Drake’s public persona. Among other digs, he questions the Canadian rapper’s proximity to Black American culture and his relationships with women. A few days later, Lamar followed up with “6:16 in LA,” claiming that Drake has a “leak” in his camp.
Presumably, Drake wanted to get ahead of any dirt Lamar could possibly expose by dropping the track “Family Matters” this past Friday, along with a music video. In addition to Lamar, Drake has some more words for Ross, The Weeknd, and even Pharrell Williams. However, it’s Lamar’s fiancée, Whitney Alford, who’s the primary target of Drake’s claims.
First, he suggests that one of Lamar’s children is actually fathered by his general manager, Dave Free, who’s also the former president of Lamar’s former label, Top Dawg Entertainment. Then he makes the more troubling allegation that Lamar “puts his hands on” Alford. “They hired a crisis management team to clean up the fact that you beat on your queen,” he says at the end of the track.
Seemingly tipped off by a mole, Lamar followed up just a few minutes later with “meet the grahams,” with cover art featuring a box of the weight-loss drug Ozempic supposedly prescribed to Drake. In that song, Lamar addresses his verses to Drake’s son, Adonis, and Drake’s parents. “Dear Adonis, I’m sorry that man is your father,” he bluntly opens the track. He also dedicated a verse to Drake’s alleged 11-year-old daughter, who would be the second child the rapper has kept hidden from the public. Drake, however, was quick to jump on Instagram and shut down the claim that he had a secret daughter.
More strikingly, though, Lamar refers to Drake as a “predator” and even likens him to Harvey Weinstein. Later that evening, Lamar dropped yet another track — this time, produced by DJ Mustard, who seemingly also has beef with Drake — “Not Like Us,” where he outright calls Drake a “pedophile.” In particular, social media lost it over the triple entendre, “tryna strike a chord, and it’s probably A-minor.”
On May 5, it seemed like Drake was ready to bow out after releasing the track “The Heart Part 6.” In addition to the curious claim that he purposely planted false information for Lamar to use, he spends most of the song denying that he sleeps with underage girls. He even addresses a controversial incident from 2018, when Stranger Things actor Millie Bobby Brown, who was then 14 years old, stated in an interview that she texted the rapper about boys.
In a haphazard move, Drake attempts to connect these claims to Lamar’s own trauma, referencing the “one record where [Lamar] said [he] got molested” titled “Mother I Sober” — only Lamar doesn’t state that he was sexually abused on the song. In rapping about his cousin who was accused of sexual assault, he claims twice on the track that his cousin didn’t touch him, despite his family not believing him.
Drake ends the song with a rambling spoken outro, similar to Nicki Minaj’s Megan Thee Stallion diss “Big Foot” earlier this year. “I’m not going to lie,” he says. “This shit was some good exercise.” In a noticeably exhausted tone, he says “it is what it is,” seemingly waving a white flag.
Still, that hasn’t stopped Lamar from publicly reveling in the chart success of “Not Like Us” and the support of his industry allies. On June 19, otherwise known as Juneteenth, Lamar held “The Pop Out: Ken & Friends” at the Kia Forum to celebrate Los Angeles rap and, once again, broadcast his hatred for Drake. At the concert, which was streamed on Amazon and Twitch, Lamar performed “Not Like Us” six times. With each replay, a growing number of musicians, athletes, and other big West Coast names — including YG, Steve Lacy, Russell Westbrook, Black Hippy, and Mustard — joined him onstage, in what looked like an Avengers ensemble of Drake haters.
Drake has previously thrived in beefs — but can he win when the whole industry is against him?
For the most part, Drake has handled his public gang-up with an expected sense of humor and irreverence. However, with the latest releases, he seems to be fighting a battle he can’t win, using wishy-washy bars to attempt to toss off some serious allegations. It’s worth noting that Drake’s domestic abuse claims against Lamar are just as serious. Nevertheless, rap fans on social media seem more invested in the seedy gossip that’s surrounded Drake’s mostly private romantic life, including these unsettling accusations about underage girls. Plus, after years of dominating the rap scene and making enemies out of several rappers, it seems social media users are ready to see the rapper taken down a few pegs.
As anyone who’s even slightly followed rap over the past decade and a half can attest, this isn’t Drake’s first time engaging in warfare with his peers. Most famously, his career has seen headline-generating battles with Meek Mill, Pusha T, Joe Budden, and Kanye West. Arguably, his most infamous tiff was the culmination of a long-brewing beef with Pusha T in 2018, where the Virginia rapper exposed Drake’s formerly hidden son, Adonis, to the world.
Despite the brief moment of humiliation, Drake ultimately emerged the victor — that is, if you’re using chart numbers and general popularity as a determining metric. After his moderately received victory lap of an album, Views, he was given a more gripping narrative to fuel his blockbuster 2018 album Scorpion. At the same time, he was once again proving his mass appeal outside of the rap audiences with party bangers like “God’s Plan,” “Nice For What,” and “In My Feelings,” all of which reached No. 1 on the Billboard Hot 100.
More recently, however, Drake has been involved in several seemingly one-sided beefs with famous women. On his 2023 song with 21 Savage, “Circo Loco,” he threw out a not-so-subtle diss at rapper Megan Thee Stallion (“This bitch lie ’bout getting shots but she still a stallion”), joining a chorus of famous men disputing her now-proven claims that singer Tory Lanez shot her in the foot in 2020.
During the rollout of For All the Dogs, he vexed actor Halle Berry, who claimed he used a photo of her for the artwork for his single “Slime You Out” without her permission. Additionally, he’s attempted to reignite drama with his former fling Rihanna. Aside from his digs on “Fear of Heights,” he played their collaboration “Work” at one of his concerts just to claim that he “doesn’t sing [the] song anymore.”
Drake’s songwriting is often propelled by a sweeping sense of grievance and an obsession with the past and his haters (he’s not that different from Taylor Swift after all!). However, his constant feelings of victimhood within his relationships with women — and the subsequent, more blatant misogyny that’s grown out of that — has begun to wear on critics and parts of his female fanbase. It’s an observation that Lamar has sharply utilized in his diss tracks over the weekend.
While this latest beef originally seemed like an ultimately invigorating experience for Drake in a snoozy part of his career, Lamar’s accusations of pedophilia and other predatory behavior will presumably leave a strong stench on Drake’s public image. It’ll be fascinating to see whether the seemingly invincible rapper can maintain fans’ respect after such dark claims. However, history has proven that male rappers can still thrive despite the most sordid allegations.
Update, June 20, 10:25 am ET: This story was originally published on April 17 and has been updated multiple times, most recently to include news of Lamar’s June 19 performance.
