Drake has made his return with not just one album but three. And yes, we are reminded that he has feuds with people, not that we needed a reminder.
The last time the artist dropped a solo album was in 2023. Which was changed on Friday with the simultaneous release of Iceman, as well as Maid of Honour and Habibti. Altogether, the three LP’s include 43 new songs across 150 minutes of new music.
When it comes to Iceman in particular, Drake’s latest flows are not the sharpest. But just like the name, Iceman is cooler than it has been in a very long time.
Back in 2016, his album Views produced the smash hits such as “Hotline Bling” and “One Dance.” Yet the musician appeared to be just on autopilot. Sure, during that time, the superstar earned 10 more No. 1 singles since “One Dance.” And has released a string of chart-topping albums and mixtapes. These include smashes such as Scorpion. As well as collaborative albums with other artists, such as 21 savage and PartyNextDoor. But it is clear to see that Drake’s popularity relies just on the volume of music he has released. Rather than focusing on the quality and improvement of his artistic talents.
With Iceman, he gives fans and critics a full body of solo work since the widely publicized 2024 rap beef with Kendrick Lamar. The two rappers could not be any more different. While Drake succeeds at mass-producing these large quantities of music. Lamar’s thinner discography features layered concept albums and feels more thought-out and intentional. The beef only further emphasized how complacent Drake is in his recording career. Even though Iceman has been hinted at for months, the new record falls short of the hype.
The majority of the album is berated by generic beats, and Drake’s lyrics land with a soft blow. The opening single “Make Them Cry” he says, “Been so sure of my words that I haven’t used a pencil.” But it’s clear the rapper does not have any pen game. And would suggest more effort and thought-out lyrics would have been beneficial. It’s an 18-track project that could have been a no skip album, but was instead another loan out addition to the lackluster discography of Drake.
With all that said, there are a handful of decent tracks that may satisfy die-hard Drake fans. Such as “Whisper My Name” and “Make Them Pay,” which deliver in small ways. There are only two collaborations on this album: Future and Molly Santana on “Ran to Atlanta,” and 21 Savage on “B’s On The Table.” These could be heard as fun and playful if played at a party or get-together. However, they appear toward the back end of the record. Meaning listeners would have to seek them out if they want to hear those specific songs. Otherwise, it requires listening through the entire album to reach them, which many listeners are unlikely to do, as interest may fade by that point. If I had to choose a catchiest song, it might be “2 Hard 4 The Radio,” but that’s just throwing a bone out there.
For the album cover, Drake reportedly spent $120,000 on Michael Jackson‘s rhinestone glove, which he wore during performances. Social media was not a fan of the move. Some commenters on an Instagram post by Complex Style called it “blasphemy,” said “MJ is turning in his grave,” accused him of “buying his way into the culture,” and compared it to Kim Kardashian wearing Marilyn Monroe’s dress.
Then there is Maid Of Honour. It heavily relies on the production.
If we had to rank the albums, Maid Of Honour would be at the top, but it’s a very low top. It is possible that, since it’s been three years since his last solo album, there is an album for each year he’s been gone. With Maid of Honour, it gives listeners the chance to hear pop, rap, dancehall, and possibly hints of punk. The album tells a loose story about the emotions Drake is experiencing in his romantic relationship. There is no real depth to it, but the artist still manages to deliver a decent LP with his choice of infectious and upbeat production.
The album begins with “Hoe Phase,” which is about the pleasures and freedom of being in a noncommittal relationship, something that Drake may be hoping his younger fanbase will like. It is strong as an opening track, but then the album runs dry, except some songs, such as “True Bestie,” ” Stuck, ” and “Q&A.”
Throughout the 14-track album, Drake is accompanied by artists such as Central Cee, Stunna Sandy, and Popcaan. These features allow Maid of Honour to explore a plethora of genres, making it a strength of the album. Production-wise, it excels and brings a certain atmosphere, creating a listening experience that encourages dancing and replayability. It is once again not focused on lyricism and has put more focus on the vibe, which does seem fitting for the album’s intent. The record targets clubs and dance floors.
Habibti is truly the weakest of the three records. Drake has made a return in an unremarkable way to the realm of R&B.
The album tells a surface-level story of charming a lover, warming and attachment, making mistakes and excuses, and then whining and crying about losing her, yet without the care and charisma that made others worthwhile. It is the shortest album of his to date, boasting only 11 tracks across just 36 minutes.
There was an out-of-place guitar ballad with “Rusty Intro,” and the album continues Drake’s trend of forgettable production. Unlike in Maid of Honour, and even more unlistenable melodies. The album features the same overused chord progressions and uses his more recent bizarre vocal filtering. Which did not suit the instrumental whatsoever. It’s a long way down from projects like honestly never mind. These songs also feel very short. “Classic” is the closest thing the album has to a standout, but ending right before it even gets the chance to begin.
Songs that were near hits but once again lyrical depth was missing, “Slap The City” or “I’m Spent” just miss the mark. I could even roll my eyes at half the bars he spits, as they are just lazy similes. Lines such as “ex-Men issues like Marvel” on “Hurrr Nor Thurrr,” or “would you just go missing like a milk carton” on “I’m Spent” leave the listener questioning whether Drake has anything to offer.
I’m sure other rappers are thinking the same thing, as there are a handful who are not fans of Drake. The most notable being Kendrick Lamar and his diss tracks, “Euphoria,” “Meet the Grahams,” and the most popular “Not Like Us.” Although Drake launched Lamar’s career through an album feature and a tour, no goodwill remains between them; Future also allegedly fell out with Drake over a woman.
It isn’t the first time the two have fallen out, but it seems to be the longest-lasting. Rick Ross wasn’t too happy about about Drakes track “Push-Ups.” Ross unfollowed Drake on Instagram. Drake took shots at Ross’s age, and Ross accused Drake of using ghostwriters and getting a nose job. Drake also targets Metro Boomin on” Push-Ups,” with Drake telling him to be quiet in a not-so-nice way. Finally, with A$AP Rocky and him having been with the same woman. Drake appeared to go after ASAP and dismissed Rihanna, which led to A$AP Rocky responding on We Still Don’t Trust You’s “Show of Hands.”
Overall, it seems that the majority is not happy with Drake nor his new three albums. He seems to be clinging to what he knows instead of trying to further himself and better himself. A different technique might help him create a memorable, repeatable album. Maybe he will make songs that are not just background music for a multitude of things. If Drake can figure out how to improve himself and earn his way to a top spot. Then he could evolve as an artist. But if he has worked on three albums without changing his approach on any of them. It’s hard to say he will improve at any point.
