People are gonna hate this remix. There’s a natural inclination to shit on carefree, well-intentioned dudes such as KYLE or Lil Yachty or Lil Uzi Vert because they’re not taking hip hop seriously. Then KYLE (and Chance to a lesser extent now) have the nasally, yawp voice that’s just a non-starter for certain listeners.
But that only explains why people might hate the original version of this track, the one with Yachty that climbed as high as No. 4 on the Billboard Hot 100. The reason people are gonna hate this remix, including some KYLE fans, is entirely due to Kodak Black being included. Part of the criticism is outside of rap and has everything to do with the fact that Kodak got accused of sexual battery, which he deserves to spend a long time in prison for if true. That criticism, of giving Kodak Black a bigger platform, is entirely fair because artistry should never eclipse reprehensible behavior.
The musical critiques don’t have the same legs to stand on though. Kodak, like mush-mouthed rappers Gucci Mane and Boosie before him, catches hell because there can be a lagging bias against Southern hip hop artists and their intellect (or lack thereof in the minds of critics). As though Southern hip hop is the only subgenre that includes a few goon types.
No Kodak Black doesn’t come through this delightful song and spit some deeply profound truths about the human condition. That’s not was he’s good at. Dude’s talent is stretching that Floridian drawl all across a track and seeing where it takes him. He’s adroit at warbling and finding these little melodic pockets that only someone off course could pinpoint. That’s what he does here and it’s just delightful. The sunny vibes in effect are enough to block out any clouds of petty grievances.
[KYLE’s teased a new album this year and “iSpy” will likely be on it.]