{"id":41,"date":"2026-05-19T21:38:29","date_gmt":"2026-05-19T21:38:29","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=41"},"modified":"2026-05-19T21:38:29","modified_gmt":"2026-05-19T21:38:29","slug":"drake-would-like-to-settle-the-score","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=41","title":{"rendered":"Drake Would Like to Settle the Score"},"content":{"rendered":"
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In 2009, after he had retired from his old career as a teen-age actor, and just as he was launching his new career as a grownup hip-hop star, Drake made a prediction: \u201cWhen my album drop, bitches\u2019ll buy it for the picture \/ And niggas\u2019ll buy it, too, and claim they got it for they sister.\u201d His verse betrayed lots of confidence about the magnitude of his growing popularity and also, perhaps, a few misgivings about the nature of it. The next year, he released his official d\u00e9but album, \u201cThank Me Later,\u201d and indeed plenty of people bought it\u2014enough of them, of whatever sex, to push it to the top of the album chart, both in America and in Canada, Drake\u2019s home country. Back then, conventional wisdom still held that achieving pop-music success meant selling your album to a wide range of customers, including some who might have felt sheepish about their purchase. But the rise of Drake coincided with a shift in the business model of pop music: our most successful artists no longer need to worry about who is and isn\u2019t buying their albums. In 2010, when \u201cThank Me Later\u201d arrived in record stores, physical-album sales were already collapsing as listeners turned to digital downloads, and then, increasingly, to services such as Spotify. In the streaming era, people don\u2019t need to pay for albums at all; they can just press play on whatever they\u2019re in the mood for, or else let playlists and algorithms guide them. There is nothing to buy, besides a subscription, and therefore nothing to justify: you can listen to all the Drake you want, no alibi required.<\/p>\n

Read more Mary Todd Lincoln Has Long Been Derided. Is Her Reputation Salvageable?<\/a><\/p>\n

In 2016, the first year streaming services accounted for the majority of American music-industry revenue, Drake was the most listened-to artist on Spotify. (He is currently the third most listened-to artist in the service\u2019s history, behind only Taylor Swift and Bad Bunny.) Drake\u2019s tracks were unabashedly and extraordinarily seductive: he was a charming and malleable rapper, happy to appropriate American hip-hop slang or Jamaican patois; if some of it sounded slightly ludicrous, coming from a former cast member of the Canadian teen drama \u201cDegrassi: The Next Generation,\u201d Drake knew that we didn\u2019t care. He had a voice soft and clear enough to make sure no one missed his punch lines, and an ability to switch, sometimes mid-verse, from rapping to singing, from bragging to pleading. Neither his promises nor his threats were entirely credible, but he wasn\u2019t really asking people to believe in him\u2014the tracks, like the relationships they often chronicled, didn\u2019t require long-term investments. \u201cI\u2019ve been avoiding commitment, that\u2019s why I\u2019m in this position,\u201d as he once put it. Drake was just asking people to tap \u201cplay,\u201d while creating hours of sleek and infectious music that made it nearly impossible not to.<\/p>\n

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This was an effective strategy, but also a perilous one. In 2024, when Drake found himself embroiled in a feud with Kendrick Lamar, a rapper known for lyrical ferocity, he seemed shocked to discover that his addictive tracks hadn\u2019t inspired deep loyalty. People delighted in abandoning Drake to side with Lamar, especially after Lamar released \u201cNot Like Us,\u201d a riotous manifesto that called Drake and his crew \u201cpedophiles.\u201d In the U.S., in particular, the anti-Drake backlash felt like a righteous political movement, with Lamar (whom Drake had accused of \u201cacting like an activist\u201d) as its leader. At a concert in his native California, Lamar performed \u201cNot Like Us\u201d five times in a row; he performed it, too, at last year\u2019s Super Bowl, by which point it had earned five Grammy Awards. Meanwhile, Drake seemed disoriented. He teamed with the singer PartyNextDoor to release an album called \u201c$ome $exy $ongs 4 U,\u201d all but daring listeners to laugh at the title. He sued Universal Music Group, which distributed both his and Lamar\u2019s albums, for defamation, but the case was dismissed, with the judge holding that \u201cNot Like Us\u201d could not \u201creasonably be understood to convey as a factual matter that Drake is a pedophile or that he has engaged in sexual relations with minors.\u201d (Drake is appealing the decision.) Last summer, he released a track that suggested he was waking up after a long night\u2019s sleep, asking, \u201cWhat Did I Miss?\u201d<\/p>\n

Now Drake is back in earnest. Last week, after months of teasing and promotional stunts, including an ice fortress in downtown Toronto, he released his comeback album, \u201cIceman,\u201d along with two other previously unannounced new albums, \u201cHabibti\u201d and \u201cMaid of Honour,\u201d for a total of two and a half hours of music. \u201cI\u2019m in the cut, just loading rebuttals,\u201d he raps, near the beginning of \u201cIceman,\u201d and what follows is an astonishingly detailed and sometimes entertaining account of the many ways he has not forgotten all the people who seem to have forgotten him. In the past, Drake has used wordplay and unexpected rhymes as a way to tease his listeners, even flirt with them. (He once asked, plaintively but playfully, \u201cDo I ever come up in discussion \/ Over double-pump lattes and low-fat muffins?\u201d) Now many of his jokes are intended to insure that listeners are following his travails as closely as he is. \u201cIf Drake took out the A.K., maybe he\u2019d be in jail,\u201d he raps, and it sounds like a simple claim about a gun until he gets to the next line: \u201cJust based off the name that it spells.\u201d This, it seems, is a cryptic way of insulting Dr. Dre, the legendary hip-hop producer, who appeared at Lamar\u2019s big California concert, and who, Drake wants to remind us, has also been accused of violence against women. When he asks, \u201cWhat did I miss?,\u201d he is not trying to catch up on old news but, rather, replaying his memories of everyone who has betrayed him, wondering whether he should have seen it coming.<\/p>\n

Read more Rostam Batmanglij Wanders to the Edges of American Sound<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Lamar trounced Drake by using spring-loaded rhymes and big gulps of breath to turn his insults into party music. In contrast, \u201cIceman\u201d is all minor keys and mournful chords, as if Drake were holding forth at a table for one in an empty restaurant, with only the piano player to keep him company. Ever since the album\u2019s release, Drake\u2019s biggest supporters and his biggest detractors have been carefully watching the streaming statistics, looking to see whether his career has been damaged by the Lamar feud. But what\u2019s most notable about \u201cIceman\u201d is how damaged Drake himself sounds. The music hints at a regret that he seems unable to verbalize; this, more than the trash talk and jokes, is the album\u2019s best quality. (All three albums arrived on streaming services without full writing or production credits, and listeners have been scrambling to figure out who produced what, and whether any contributors were ripped off.) In \u201cMake Them Pay,\u201d Drake starts off by singing, quietly, \u201cI just wanna be free,\u201d but soon he is off and rapping, delivering an extended complaint that includes one of the sorriest phrases in the English language: \u201cyou never called me back.\u201d<\/p>\n

Drake didn\u2019t explain why he was releasing three albums at once, and he can\u2019t have been surprised that \u201cIceman\u201d\u2014which was announced in advance, and which contains most of the insults\u2014has received the most attention. By comparison, \u201cHabibti,\u201d the shortest of the three, feels a bit like an extended interlude. (The high point comes at the beginning: \u201cRusty Intro,\u201d a tantalizing and artfully scrambled snippet driven by what sounds like an acoustic guitar.) Listeners who want to be reminded of how Drake became so dominant in the first place should opt, instead, for \u201cMaid of Honour,\u201d which is nearly as joyful as \u201cIceman\u201d is sullen. For about forty-five minutes, he evokes the pleasing disorientation of a late night in a dark night club, constantly shuffling beats and switching his flow: \u201cCheetah Print,\u201d with Sexyy Red, samples a recent club hit by the South Korean producer Peggy Gou, before suddenly turning into an updated version of \u201cCha Cha Slide,\u201d which is only improved\u2014as many tracks are\u2014by a bit of singing from Drake. This is one effective way to move on from a disaster, especially if you happen to be a pop star as ruthlessly transactional as Drake: instead of worrying about getting even, just get back to work. (Perhaps it is no coincidence that the album includes references to two different Caribbean songs called \u201cWork\u201d: one is an old soca hit from Trinidad, and the other is a 2016 pop smash by Rihanna, which featured a Canadian singer-rapper who had not yet become the focus of any serious controversy.) Instead of relitigating his problems, Drake tries to distract us from them, and succeeds gloriously. There are new-wave keyboards and jittery drum tracks; at the end comes \u201cPrincess,\u201d a gooey, blissed-out love song about a woman who seems to have nodded off in a bathroom. Like much of Drake\u2019s best music, \u201cMaid of Honour\u201d is full of bad ideas that sound terrific. Listeners need not know anything about his complicated entanglements in order to enjoy it\u2014perhaps in spite of themselves.\u00a0\u2666<\/p>\n

Read more \u201cThe Audacity\u201d Is a Brutal Silicon Valley Satire with an Agenda<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Kelefa Sanneh writes about Drake\u2019s return to the limelight, after feuding with Kendrick Lamar, with three newly released albums\u2014\u201cIceman,\u201d \u201cHabibti,\u201d and \u201cMaid of Honour.\u201d<\/p>\n","protected":false},"author":1,"featured_media":40,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-41","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-music"],"yoast_head":"\nDrake Would Like to Settle the Score - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=41\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Drake Would Like to Settle the Score - 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