Tuesday, August 7th, 2018

Drake – In My Feelings

No, we will not be doing the challenge. We are sorry to disappoint the millions of you who hoped we would…


Alfred Soto: Here’s why, Ariana Grande’s insistence to the contrary, God doesn’t exist, whether He or She is a woman or not: why hasn’t she hurled six thousand lightning bolts at Aubrey Graham for bleating over yet another undistinguished thumper about women who prefer Henny to champagne? Maybe the presence of the bedeviled “Kiki” convinced God as to the quality of mercy.

Jacob Sujin Kuppermann: The purest confirmation that Drake only has five songs and three singles, repeated endlessly until the Billboard charts stop working. At least it’s in one of his more pleasant modes — though you could always just listen to “Nice For What” again.

Tim de Reuse: It’s been a while since Drake managed to pull off something so straightforwardly catchy; this is one of the better melodies he’s managed in recent memory, and I’m sure it’ll be stuck in my head at work all week. Alas, he’s felt the need to spruce it up with some bewilderingly amateurish vocal chopping that’s also unpleasantly dry. It’s like using a tablespoon of pencil shavings to top a perfectly decent sundae.

Maxwell Cavaseno: “Sleepy Time Tea New Orleans Bounce” shouldn’t be anybody’s cup of tea, but apparently that’s what this man is content to serve up all year.

Katherine St Asaph: The non-Drake parts aren’t exactly bounce music, but at least on that same stage. The Drake parts are bounce as interpreted by the Backstreet Boys, but at least the syrup slides away before City Girls’ part. Weird how Drake’s morphed into Somewhat Less Shitty A&R Guy, but it’s much better than the 2011 Fucking Drake era.

Andy Hutchins: If Scorpion and Drake’s 2018 give us nothing more lasting than whatever brilliant art Karena Evans brings into the world, it will have been worth it. But “In My Feelings,” beyond being the thing that brought us the moment of Phylicia Rashad yelling “Why don’t you go to yo’mama’s house and make all that racket?” we did not know we needed, is also a thing we did not need. It reheats the leftover bounce influences of “Nice For What,” but deploys City Girls even more anonymously than “Nice” did the magisterial Big Freedia, and it seems to think sampling Weezy does all the work that actually integrating bounce did for “Nice,” when this just smacks of gentrification. I am glad that Shiggy is very clearly going to make a mint from this — Drake is good for invoices coming in, too, right? — and I think the hook here is good because plaintive, pleading Drake is one of his most honest modes, but pushing maybe your best single ever from the spotlight with a poor facsimile of the same single because the latter got memed is lamentable.

John Seroff: If we gotta be real with it, let’s be real with it: this is a [9] meme, an [8] sample and a [4] song, average duly rounded down two points for the Drake factor. As with the Trump-guesting “Hotline Bling” before it, I can’t deny it as a SONG OF THE SUMMER, but I’m perfectly happy to constrain further listening to ambient plays and the occasional Shiggy binge of the first twenty seconds on replay.

Tobi Tella: Scorpion was a mess that dragged on, but this was a very pleasant breath of fresh air. The feeling of a grittier “Nice For What” and Drake once again fully borrowing from club and bounce all made this a pretty perfect song, the kind of banger that’s hard to say no too. Not to mention the incredible City Girls verse in the middle of it and the amazing ending break down. I guess it’s one hit single forward, one giant album full of filler backwards for Drake.

Reader average: [5] (6 votes)

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