G-Eazy – Freak Show (Album Review)

G-Eazy’s ‘Freak Show’ blends bad-boy bravado with raw introspection, delivering an experimental yet flawed album that feels like part therapy session, part reinvention.

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TOP 5

5. Lady Killers III

Why don’t I remember “Lady Killers I” or “Lady Killers II?”

“Lady Killers III” definitely sounds like a track that was made in 2011. The rap flow G-Eazy uses in it sounds like some s**t Drake was using on Take Care, while the production that he relies on sounds like some s**t we would’ve heard on Wiz Khalifa’s Kush & Orange Juice mixtape. At the end of the day, the music is still good. I particularly rock with the track’s beachy vibes and Eazy’s lyrics about f**king with a chick that sounds like a first-team all-NBA groupie.

4. One Day (Ft. Leon Bridges)

G-Eazy imagines that he’s broke in “One Day.”

“One Day” feels like G-Eazy’s take on “21 Questions.” In the track, he asks his partner how things would change if he didn’t have much money now but promised bigger things in the future. He paints a picture of one-bedroom apartments, barely affordable equipment, and the hope of having someone who will hold him down through it all.

Leon Bridges elevates the song with a heartfelt chorus, blending passion with a spellbinding melody. Meanwhile, G-Eazy delivers his verses with a calm, almost subdued tone—even if, beneath the surface, he might be a couple of rent payments behind.

3. South Of France

You gotta give G-Eazy props for finding a way to use Sebastian Janorkowski’s name in a verse.

G-Eazy taps into his introspective side on “South of France.” He reflects on living out his dreams, releasing successful albums, and staying as focused as ever. While moments of vulnerability shine through, he still delivers his verses with the same confidence and conviction fans have come to expect.

The production pairs a gentle atmosphere with a hard-hitting undercurrent, creating the perfect backdrop for his storytelling. If there’s one minor drawback, it’s that the hook could pack a bit more punch—but as G-Eazy reminds us, you can’t have everything in life.

2. Freak Show (Ft. French Montana)

Those girls who smash on top of sheets are the deadliest.

These are the cool-ass G-Eazy tracks that I prefer. In “Freak Show,” he brags about the different kinds of chicks he’s smashing and being far from a punk. In the process, he blesses us with a catchy hook and some very sly raps over this uptempo, booming beat that will turn a party up. As for French Montana, he delivers a very punchy, braggadocios verse that has him sounding like a Moroccan demon. His part definitely fits the track.

1. Femme Fatale (Ft. Coi Leray & Kaliii)

Once again, this is the G-Eazy I prefer.

Seeing Coi Leray and Kalii on a G-Eazy track might surprise you, but remember, some of Eazy’s biggest hits, like “No Limit,” feature talented female rappers. That said, “Femme Fatale” is a cool collaboration. Driven by a booming, Bay Area-like beat, G-Eazy and Coi exchange playful banter. While G-Eazy sounds like he’s auditioning for “The Whisper Song” pt. 2, Leray talks her s**t with tons of confidence. Kalii plays a strong supporting role, delivering a tough verse that showcases her value in relationships. Overall, the slick rhymes and catchy hook are sure to resonate with listeners.

SONG-BY-SONG RATING

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Check out the individual track ratings we gave—these are what we used to calculate the overall score

RGM RATING

(67%)

G-Eazy seems to be going through a midlife crisis—and it’s written all over his latest album, Freak Show. The Bay Area rapper sounds both discombobulated and more experimental than ever before, taking creative risks that push him beyond his usual comfort zone. While the album’s title might suggest chaos for chaos’ sake, there’s a clear sense of self-reflection running underneath the surface.

The production here lives in two extremes—either hitting harder than Devin Haney or leaning heavily into alternative, left-field vibes. In the former mode, we get the classic bad-boy G-Eazy persona that fans have always gravitated toward. In the latter, he experiments with unusual melodies and unconventional singing styles. Personally, the “bad-boy” lane still works best for him, but when he blends the two approaches—like on the standout track “Backseat”—the results are surprisingly compelling. Just be warned: the choruses across this project are… well, less than memorable.

Lyrically, Freak Show finds G-Eazy exploring a more balanced spectrum of topics. Sure, he still talks about women, wealth, and fast living, but there’s also a newfound humility in moments where he reflects on family, gratitude, and personal growth. It feels like he’s weathered some storms over the last few years, and now he’s recalibrating his life—and music—with that hard-earned perspective.

Is Freak Show the best work of G-Eazy’s career? Probably not. But there’s a raw honesty and emotional purity here that’s hard to ignore. For all its flaws, the album feels less like a bid for chart dominance and more like a personal therapy session set to beats—which might be exactly what G-Eazy needed right now.

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