Playboi Carti – I AM MUSIC (Album Review)

After multiple delays, Playboi Carti has finally dropped the most anticipated sequel since the New Testament, I AM MUSIC.

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TOP 5

Honorable Mention. FINE SHIT

“FINE SHIT” checks off several boxes for me. It features an infectious chorus that I absolutely love, a production style that I enjoy, my favorite Carti voice (the high-pitched one), and lyrics that might just be relatable to someone who’s getting bad b*tches. ~~I’m not sure how this song will resonate with people, but b*tch, it resonated with me.~~

HONORABLE MENTION. POP OUT

If you call yourself a true Playboi Carti fan, you have to be OK with tracks like “POP OUT.” Despite Carti sounding like he’s in a brouhaha with a bunch of computer wires, with the production giving off this chaotic, futuristic sound, he still delivers a very catchy, intoxicating chorus that will make you nod your head violently, lyrics that strongly indicate he’s HIM, and a rap style that the white community will appreciate just as much as the black community. Overall, this is the progression I can see Carti making for his next album.

~~I f**k with it when Playboi Carti sounds like he doesn’t eat his vegetables.~~

HONORABLE MENTION. TOXIC (Ft. Future & Skepta)

~~I think “TOXIC” is excellent! In the track, you get a trap beat so mean~~ that it’ll probably give Zelensky flashbacks to his White House visit. It also features an outstanding verse by Skepta and classic Future contributions, including a chorus that I closed my eyes and nodded to. Here’s the problem: Playboi Carti isn’t on the track. Can that count as something we can add to a top 5?

5. BACKD00R (Ft. Kendrick Lamar)

Do you know the irony about “BACKD00R”? If we lived in another universe where rap wasn’t competitive, Drake and J. Cole could’ve been added to this track, and the s**t would’ve been fire. I just think the soulful, old-school R&B vibes the production gives off sound like something all of those rappers would’ve fit on. Well, we only got Carti and Kendrick Lamar, and they do the job. Playing the role of SZA when you compare it to Kendrick and SZA collabs, Carti uses his high-pitched vocals to talk about his guns, flossing, and being into his girl—which might or might not be a gun. Kendrick finds a way to fit in, delivering some vocals here and there and finding moments to pull some duet s**t. Overall, this is a very complete and well-put-together track.

4. PHILLY (Ft. Travis Scott)

Travis Scott and Playboi Carti are really brothers. I think they sound similar and have great chemistry together. That said, in “PHILLY,” Travis showed Carti how to do this s**t! He puts up a vintage performance, delivering his signature melodic raps that glide effortlessly over the bass-heavy production, hits us with a classic hook, and drops bars that make him sound bi-coastal, like a responsible junkie, and a playa all at once. As for Carti, using his bouncer voice, he takes the track home with a verse that is violent as hell. I actually like it when he gets violent (which is a sad thing to admit). Very dope collab here.

WHAT ARE PLAYBOI CARTI’S TOP 5 SONGS? FIND OUT WHAT WE THINK BY CLICKING HERE!

3. GOOD CREDIT (Ft. Kendrick Lamar)

Kendrick Lamar went nuclear again. After dropping a few guest features in which he played a backup role, he took the mic for ransom in “GOOD CREDIT,” hitting us with a fiery verse where he pays homage to Luka Don?i?, speaks on having an interest in dissing more people than Drake, and draws parallels to Carti despite them being completely different negroes. I love the aggression he raps with and the consistent flow he uses over the chaotic production that makes you want to turn into Isaiah Stewart on someone. As for Playboi Carti, using his bouncer voice, he drops repetitive and big-boy bars. He definitely sets the tone for madness.

2. RATHER LIE (Ft. The Weeknd)

Who would’ve thought that The Weeknd and Playboi Carti would make such a good tandem? Well, that’s certainly the case because it’s undeniable that “Timeless” is a f**king hit. While “RATHER LIE” isn’t as good as “Timeless,” I do think it’s easily one of the best tracks from this project. The Weeknd puts up a surprisingly simple but hella memorable hook, the smooth trap production is hard to deny, and Playboi Carti (using a very cartoonish voice) takes good command, providing the track with some well-needed playa lyrics, occasional cringe singing (cringe singing is good sometimes), and a nice flow. If you switched his vocal inflections, I think I would’ve liked the song even more.

1. MOJO JOJO (Ft. Kendrick Lamar)

I love that Kendrick Lamar only plays Carti’s hypeman on this track, mainly dropping ad-libs. Honestly, that’s one of the best ways to use Kendrick (think “WIN” with Jay Rock or “Under The Sun” with J. Cole and DaBaby). As good as he is, though, I think Playboi Carti and the production steal the show. Carti does a great job of letting folks know he’s different from his competition, rapping without a damn care in the world, while the hard-hitting beat—with its glitchy, dark elements—is unbelievably good. Who needs Kendrick?

Grok: How many adlibs did Kendrick Lamar diss Drake with?

SONG-BY-SONG RATING

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RGM RATING

(81%)

I’ll admit it—I wasn’t always sure if I was a Playboi Carti fan. But after hearing I AM MUSIC, I can confidently say I am now. In Playboi Carti, he was a little too raw. In Die Lit, he went commercial too soon. In Whole Lotta Red, he was a bit too experimental. But here? He’s efficient, ridiculously versatile, and more digestible than ever.

For the first time, a 30-track album actually feels justified. Why? Because Carti gives us everything: unfiltered trap bangers, trippy anthems, R&B-infused cuts, rager music, commercial hits—you name it. Also, the album is stacked with heavy-hitting features, including multiple appearances from Kendrick Lamar and Future, plus Travis Scott, Skepta, and Young Thug. Carti himself flexes an impressive range of voices, from dorky Carti to helium-inhaling Carti to bouncer-sounding Carti. But the real MVP here? The production. The beats knock, they’re diverse, and every now and then, you get something truly unique. That said, the album loses steam toward the end—the songs start to feel a little rushed, a little cheaper, a little cliché. But crucially, it never gets stale. And that’s what matters most.

Narrowing 30 tracks down to a top five was damn near impossible. Plenty of songs could’ve made the cut, and my rankings might change as the weeks go on. But for now, these are the five best tracks on the album (Don’t kick my ass too bad).