Yeat – DANGEROUS SUMMER (Album Review)

Is Yeat finally evolving? His new project blends chaos with intention, and it kinda works.

STREAM

TOP 5

Honorable Mention. FLY NITE (Ft. FKA twigs)

My corny-ass always likes songs like this.

“FLY NITÉ” stands out as the most complete and sonically cohesive track on the project. While Yeat is known for his heavy, chaotic production, this track opts for a subtler, more ethereal approach. The synths drift like neon fog, and the atmosphere feels strangely delicate—almost haunting. Yeat leans into a melodic hook that’s both hypnotic and slick, exuding the kind of cocky confidence that defines his persona. Lyrically, he boasts about his magnetic pull with women, wrapping brash declarations in smooth, gliding flows that hit more often than they miss.

The song takes an unexpected yet welcome turn in its final stretch, morphing into what feels like a full-on FKA twigs experience. The beat becomes frantic, the tempo jolts forward, and twigs delivers a soulful, otherworldly performance that contrasts yet complements Yeat’s swagger. It’s a brilliant transition that elevates the track from good to memorable. With its genre-bending structure and dynamic vocal shifts, “FLY NITÉ” proves itself as a standout moment on the project, one that shows how far Yeat can go when he expands his sonic palette.

5. IM YEAT

This is the catchiest theme song I’ve heard since the Inspector Gadget intro.

From the title alone, you know what you’re getting into. “IM YEAT” is a full-on flex session, with Yeat bragging about everything he has and everything he can do, just because he’s him. There’s a clever, almost cartoonish charm to it all, and the beat (produced by BNYX®) keeps things grounded with a more classic hip-hop feel. It’s fun, loud, and confident, and the word “Yeat” somehow turns into a whole punchline on its own.

It’s not exactly the deepest track out right now, but it’s not trying to be. This one’s all about vibes, attitude, and self-celebration.

4. M.F.U. (Ft. SahBabii)

SahBabii’s brother hates me.

Yeat and SahBabii are the duo I didn’t know we needed. They link up on “M.F.U.” and bring a chaotic chemistry that just works. The production is trippy and s*azzy—pure fun trap energy that’ll either lift your mood or amplify whatever substances are in your system. While Yeat’s performance isn’t his strongest overall, he does have moments where he finds his pocket. When he starts flowing with confidence and unloading high-level trash talk, he sounds sharp and in control.

Still, the undeniable star here is SahBabii. The moment he enters, the beat clicks into place. He floats through the track effortlessly, like he’s been rapping over glitchy chaos his whole life. His flow is clean, his bars are bizarre and bold, and he delivers them with the kind of ease that feels borderline robotic—in the best way. All in all, “M.F.U.” is one of those songs that might feel wild at first, but by the time it ends, you’ll realize how much it actually works.

3. 2TONE

Don Toliver and Yeat have a lot of s**t together.

I’ll be real with you: I like “2TONE” almost entirely because of Don Toliver. The track floats on this glitchy, futuristic instrumental that feels calm and clean on the ears—a perfect setup for Don’s signature emotional delivery. He pours real feeling into his vocals, trying to convince a love interest that she’s the only one for him. His performance feels effortless yet passionate, taking full command of the track with both a strong chorus and compelling verses.

Yeat, interestingly enough, plays more of a supporting role on his own song. His verses alternate between laid-back and chaotic, occasionally slipping into repetition as he talks about being iced out and calling someone out for capping. Still, the contrast between the two artists works surprisingly well. Their chemistry is unique, and the track’s off-kilter soundscape adds to its charm. “2TONE” might be one of the most unexpectedly beautiful moments on the project.

2. COMË N GO

This might be the track I play the most from this project.

“COMË N GO” sounds like it was pulled straight from Travis Scott’s sonic universe. The production has that perfect mix of bounce and atmosphere, with lush synths, a smooth tempo, and a spacey vibe that practically begs for a La Flame feature. It’s one of those beats that immediately pulls you in and feels expansive, like it was made to echo through a stadium or a late-night drive under neon lights.

As for Yeat, his lyrics are underwhelming. It’s a lot of noise with not much substance, a true case of “blah blah blah.” That said, the melody he delivers on the chorus is genuinely great. There’s a hypnotic quality to it that makes the song hard to skip, and Yeat’s flow feels effortless throughout. Even if the words fall flat, his energy and vocal delivery make this a surprisingly enjoyable listen.

1. LOCO

Can you call this classic Yeat?

“LOCO” is probably the most Yeat song on this entire project—and I mean that in the best way possible. The track features one of those ass-kicking, outer-space-type beats that feel tailor-made for either raging or whipping an alien with a belt. While there are definitely moments where I have no f**king idea what Yeat is saying, the energy he brings is undeniable.

The track thrives on hype. Every time he drops a “Let’s go!” or cranks up the intensity in his verses, it feels like a jolt of electricity. It’s that kind of wild, unfiltered energy that Yeat should lean into way more often. I do want to reiterate—lyrically, it’s often incomprehensible. But then again, I did catch the part where he says he “f**ked some money up and now he’s having triplets,” which might be the most confusingly fire bar of the year.

SONG-BY-SONG RATING

1. PUT IT ONG (3/5)

Become an RGM+ Member!

Want to know what rating we gave each track? Subscribe below!

RGM RATING

(72%)

I definitely heard some real growth from Yeat on this project. He’s clearly experimenting more—not just with beats, but with genres, vocal inflections, and how he approaches his verses. Sometimes he’s turning up with wild, chaotic energy, and other times he’s playing the back, letting collaborators like Don Toliver and FKA twigs shine. There’s a sense of intention here. Yeat sounds like he’s focused on crafting complete tracks rather than just tossing out raw energy and hoping something sticks.

One of the biggest highlights for me was the production. It’s seriously top-tier. There’s a great mix of trippy out-there joints and some spacey, futuristic cuts. All of it sounds crisp and clean while somehow still adapting to Yeat’s untamed style. Even better, the beats know when to pivot to support the featured guests. Don Toliver’s smooth vibe on “2TONE,” FKA twigs’ ethereal chaos on “FLY NITË”—it all gels beautifully. Honestly, the production might be my favorite part of the entire album.

Now, does Yeat say anything groundbreaking? Not really. He sticks to flexing about money, cars, and women. But here’s the thing: now that he’s one of the new A-listers in rap, his sh*t talking hits harder. It lands differently because, well, he’s living it. That elevated status gives his raps more weight, even if the subject matter hasn’t changed much.

I also have to say, every guest showed up and showed out. Don Toliver added that R&B shimmer to “2TONE,” FKA twigs delivered one of the most dynamic moments of the album, and SahBabii absolutely stole the show on “M.F.U.” All in all, I think I’m warming up to Yeat more than I ever expected. His unpredictability, unique flows, and infectious hooks finally clicked for me. Even the moments where I couldn’t fully understand him weren’t dealbreakers. I think I’m slowly becoming a Yeat fan.

Loading poll ...