It’s been a hard year for Drake. Love him or hate him, the global rap superstar, known to his family as Aubrey Graham, came out of 2024 having lost the most well documented and publicised rap beef of the 21st century. The back-and-forth exchange with critically acclaimed rapper Kendrick Lamar left Drake reeling as his better prepared, more talented opponent delivered blows which to many would have been career ending. Whether it was the eerie and surgical “Meet the Grahams,” the witty and fast-paced “Euphoria” or the west coast themed, chart-topping banger “Not Like Us” it seemed that the Toronto native was being outclassed and outsmarted at every turn. As a result, the year ended with a crestfallen superstar, with a damaged reputation and an uncertain future.
Which begs the question, why when in a position where a comeback is necessary, has Drake opted to release some of the most bland and creatively bankrupt music of his entire career, in the form of a collaborative project with fellow Canadian R&B artist: PARTYNEXTDOOR, entitled $ome $exy $ongs 4U.
The project sees Drake return to his R&B roots without any of the creativity and drive that garnered him deserving attention in the early years of his career. Producing bland, pacifying cuts such as “Deeper” and “Moth Balls” as well as a career low for the rapper in the form of an attempt to gain appreciation among the Latinx community entitled “Meet Your Padre,” the LP largely falls flat. The artist could not have picked a worst time to release this form of project, especially in comparison to the current achievements of Lamar after his politically engaging and energetic Superbowl half time show, the success of his latest album: GNX, and his recent Grammy sweep for “Not Like Us.” Are the 2020s proving to be a decade in which mediocrity is no longer accepted?
Kendrick, hailing from Compton, California, is not the only artist of recent to prove themselves through dedication and commitment to their field. With rising stars such as Chappell Roan producing successful projects such as her debut album: The Rise and Fall of a Midwest Princess and garnering widespread approval amongst critics and the public, we seem to be in a musical period where genuine talent is being rewarded by the world. Some of the largest hits of the year have been created by artists showcasing a genuine care for their craft, which can be seen in the case of rapper and producer Tyler, the Creator, whose critically praised album: Chromakopia left him as the best-selling male artist in pure sales across the US. This doesn’t just apply to the realm of mainstream music as the same can be seen with indie artists Clairo and Mk.Gee who’s albums Charm and Two Star and the Dream Police, respectively, garnered large amounts of attention and praise, resulting in the former achieving sold out residencies in both New York and Los Angeles.
So, where does all this leave Drake? In a world where creativity is rising above mediocrity, is it time for an artist such as the self-titled “6ix God” to bow out? He would, after all, be leaving behind a legacy of successful hits and albums which have touched the hearts of fans across the world. Or, alternatively, is it time to adapt. In this era, especially after being humbled by someone who continues to push forward the rap genre such as Lamar, the only rapper to have gained the award of Pulitzer Prize, Drake needs to showcase a similar desire to inspire creativity and showcase a dedication to music making. So, will we be seeing the name Drake at the top of the charts over the next decade? Or instead, will he more commonly be found within the achievements tab on Lamar’s Wikipedia page? Only time will tell.
Image credits: “Drake July 2016” by The Come Up Show is licensed under CC BY 2.0.