There was a noticeable shift in my music listening in 2024. I used to be a dabbler in hip hop and rap, enjoying it from time-to-time but putting it in my speakers infrequently. This year those habits changed. What was a low percentage of my overall listening became a majority, especially in the latter half of the year. I attribute that shift to one man: Kendrick Lamar. No musician — in any genre — commanded my attention more in 2024 than he did. And that shift is carrying into 2025, as we are just over a week out from Lamar’s performance on the Super Bowl LIX stage on February 9, 2024. I couldn’t be more excited.

GNX, Kendrick Lamar’s sixth album, dropped unexpectedly on November 22, 2024. It is a great album, and taken without any of the additional context I’m about to share below, it would likely have been my #1 album of 2024 anyway – but I obviously can’t know for sure. I will dive into the merits of the album from my (decidedly naive, considering it’s hip-hop) perspective in a bit. But first, I must share the additional context.

Prior to the release of GNX, hip hop was already dominating my 2024, thanks in part to Doechii’s Alligator Bites Never Heal, released on Aug 24 (#18) and Tyler, the Creator’s CHROMAKOPIA, released on October 28 (#12), but mostly due to Kendrick, who had a seminal verse on one track and subsequently released five non-album singles between March and September 2024. If we had gotten to the end of the year without an official album from him, I would have been put in the very strange position of having listened to a lot of new music in 2024 by and because of an artist despite them not having released an album. I don’t know what I would have done, because I feel so compelled to capture Kendrick Lamar’s 2024 in my own words, so I can better understand it, and I can pass that understanding on to you (whether you wanted it or not). Here goes nothing.

Where’s The Beef?

You may have heard of The Beef. Not the TV show (although it was enjoyable), but the escalating series of events, the rap feud if you will, between Drake and Kendrick Lamar. It was this feud, the way it played out, the speed at which both artists recorded and released music, and how the feud resolved (or continues to resolve) itself that I found intensely engrossing. Drake, the Canadian rapper very close to being the most popular musician in the world (I believe he is #2 only to Taylor Swift’s #1 all-time streaming record), versus Kendrick Lamar, the Pulitzer-prize winning incendiary West Coast Compton-born rapper.

At its core, the beef is about what makes a rapper legitimate. That, in and of itself, has been a long-time rap staple — if you didn’t grow up in the hood, if you haven’t been somehow related to gang violence or had to successfully avoid it to survive, then you aren’t deserving of any stature in the rap world. Of course this kind of base thinking doesn’t only happen in rap, but I would argue it comes up more prominently here than in any other genre. That is the foundation upon which The Beef is built: that Lamar believes Drake is a poseur, and his unprecedented popularity has taken the rap industry down the wrong path. His hyper-polished, overproduced, and sanitized music, his non-American nationality, and even how he carries himself, do not represent rap how it should be represented in popular music. He has caused the rap industry on the whole to sour, and something needs to be done about it.

And Kendrick is not entirely wrong in this stance, but you have to squint at the numbers to have it make sense. In 2018, hip hop became the streaming world’s #1 genre, thanks to both men, but Drake much more than Kendrick. Since then, it has remained the #1 genre, but until 2024 that buffer that had been built up between hip hop and other genres had been slowly declining. Taylor and her minions likely had a lot to do with that shift away from hip hop. But in 2024, thanks to Kendrick going on the offensive, calling out Drake and the industry on the whole over the course of a year, he drew my and a whole slew of other people’s attention back to (or for the first time to) the genre. Hip hop’s popularity climbed back up to a commanding lead in 2024.¹ Carrying the weight of an entire genre on your shoulders back to greatness is itself a feat to be recognized. Now let’s talk about how he did that.

Where The Beef Began

Drake and Kendrick have a long history together, and it started out on a positive note when Lamar featured on Drake’s “Buried Alive Interlude” in 2011. 2013 saw the first lyrical shots fired between the men, when Kendrick rapped on Big Sean’s “Control” that he had love for Drake and a number of other popular rappers at that time, but he wanted to “murder” them when it came to rap. A couple weeks later, Drake’s response came in an interview when he said “I know good and well that [Lamar]’s not murdering me, at all, in any platform.” Over the next ten or so years, there were various lines that they both delivered in verse and in interviews that, while not overt, were interpreted as “sneak disses.”

In October, 2023, Drake and J. Cole released “First Person Shooter,” in which J. Cole states that he, Drake, and Kendrick are the “Big Three” greatest rappers in modern hip-hop. This was apparently the start of the end for Kendrick, who disliked being lumped together with the other two as “the greatest” – not only because he considered himself, alone, to be the sole title holder for “greatest,” which I feel he has a legitimate claim to, but also because J. Cole had the audacity to claim that Cole and Drake were “the greatest” in any capacity. Kendrick’s official response came five months later, with a verse on his, Future, and Metro Boomin’s single “Like That,” in which Kendrick raps “Motherfuck the big three, n****, it’s just big me,” elevating himself above Drake and Cole. Innocent enough as a diss, but knowing the history behind it and Lamar’s intent to not only boost himself but to also cut down Drake is key.²

Full-blown Diss Tracks

Drake took the bait, creating the first complete song in The Beef whose sole focus was to take down the other man. “Push Ups” first leaked online on April 13, with Drake claiming many artists are better than Kendrick, including 21 Savage, Travis Scott, and SZA. On top of that, he made fun of Lamar’s physical presence, saying, “How the fuck you big-steppin’ with a size-seven men’s on?” and calling him “your little midget ass.” Lamar is only 5' 5", and I’m sorry, it’s all fun and games until you make fun of something out of a person’s control, like their height. That’s below the belt, and believe that likely went a long way to push Kendrick over the edge. But Drake felt he had the upper hand, looking down from his mountain, so he took the shot. “And that fuckin’ song y’all got did not start the beef with us. This shit been brewin’ in a pot, now I’m heatin’ up.”

Six days later, the official version of “Push Ups” came out, along with a second song, “Taylor Made Freestyle.” The latter song featured unauthorized AI versions of Tupac and Snoop Dogg dissing Kendrick, as well as a diss on Kendrick’s ties to the music industry in general, claiming that those ties were keeping Kendrick from responding to the leaked “Push Ups” because he didn’t want to interfere with the concurrent release of Taylor Swift’s The Tortured Poets Department, which also came out on April 19 (hence the “Taylor” in the name of the song). Tupac’s estate threatened to sue Drake, stating their support for Kendrick in their response: “The unauthorized, equally dismaying use of Tupac’s voice against Kendrick Lamar… who has given nothing but respect to Tupac and his legacy publicly and privately, compounds the insult.” Drake took the song down from streaming services a week later.

After two unanswered songs calling him out, Kendrick finally responded in full on April 30, with “Euphoria.” At 1,400 words, the 6+ minute track is non-stop hit-after-hit on Drake. Lamar calls Drake a bad father, raising his son poorly. And that his abs are fake. But more importantly, he makes the first real dig at Drake’s legitimacy in the rap business. “How many more fairytale stories ’bout your life ’til we had enough? How many more black features ’til you finally feel that you’re black enough? I like Drake with the melodies, I don’t like Drake when he act tough.” He goes on, “I hate the way that you walk, the way that you talk, I hate the way that you dress… I even hate when you say the word “n****,” but that's just me, I guess.” The song ends with a repeated refrain “We don’t wanna hear you say ‘n****’ no more.”

Five Songs Across Five Days

From there, with Kendrick having released a verse, Drake two songs, and then Kendrick with one song over the span of just over a month, the creative output and nastiness of the disses kicked into high gear. Over the next five days, Drake released two more songs, and Kendrick three, volleying back and forth with deeper, more scathing digs without sacrificing musical quality (at least on Kendrick’s part, but I’m biased by this point). On May 3, Kendrick followed up “Euphoria” with “6:16 in LA” – mocking a common Drake song-title structure – non-coincidentally produced by none other than Jack Antonoff (one of Taylor Swift’s lead producers). The instagram-only track is not as overt as “Euphoria,” instead choosing to target Drake’s OVO Records crew and Drake’s penchant for internet memes as more fodder for why he’s not street enough.

14 hours after “6:16,” Drake released “Family Matters” and proceeded to go ballistic. At 1,700 words and 7.5 minute in length, the song is the longest, most dense track in The Beef. Drake not only calls out Lamar, he lashes out at many other well-known artists like Future, Rick Ross, A$AP Rocky, Kanye West, producers Metro Boomin’ and Pharrell Williams, and singer the Weeknd. He pushed things further into chaos by claiming Kendrick was a domestic abuser against his wife, Whitney Alford. “On some Bobby shit, I wanna know what Whitney need,” comparing Lamar to Bobby Brown attacking Whitney Houston. He claimed one of Kendrick’s kids may actually be fathered by producer and filmmaker Dave Free (a point which becomes more relevant later on).

20 minutes later, Kendrick’s “meet the grahams” hit YouTube. Drake’s last name is Graham, so you can see where this is going. Less song and more spoken-word poem, it starts “Dear Adonis, I’m sorry that that man is your father,” Lamar makes it very personal by speaking directly to Drake’s son. “I look at him and wish your grandpa woulda wore a condom. I’m sorry that you gotta grow up and then stand behind him.” Then he addresses Drake’s parents, Sandra and Dennis. “You raised a horrible fuckin’ person, the nerve of you, Dennis. Sandra, sit down, what I’m about to say is heavy, now listen. Mm-mh, your son’s a sick man with sick thoughts, I think n****s like him should die. Him and Weinstein should get fucked up in a cell for the rest they life.” Just brutal.

He goes on, claiming Drake has a secret daughter. In the final verse, addressed directly at Drake, Lamar explains why he’s cutting so deep. “This supposed to be a good exhibition within the game. But you fucked up the moment you called out my family's name. Why you had to stoop so low to discredit some decent people? Guess integrity is lost when the metaphors don't reach you.”

The Death Blow

The next morning, roughly 14 hours after the previous song, Lamar releases the piece de resistance, “Not Like Us.” A classic right out of the gate, the song famously features production by Mustard (whose birth name is Dijon McFarlane – get it?). It became the song of the summer, and was hands down my favorite song of 2024. It is four minutes and 33 seconds of straight-up bliss.

The song picks up the story where “meet the grahams” left off, diving further into filth. He calls Drake a pedophile, rapping “Say, Drake, I hear you like ’em young. You better not ever go to cell block one.” and “Why you trollin’ like a bitch? Ain’t you tired? Tryna strike a chord and it’s probably A minorrrrrr.” (I cannot wait for that line to be sung by literally everyone at the Super Bowl.) Not stopping there, he raps “And Baka got a weird case, why is he around? Certified Lover Boy? Certified pedophiles” – naming Baka, a member of Drake’s security team who had been, according to Wikipedia, legitimately arrested and charged with sex trafficking, assault, and robbery of a 22-year-old woman he allegedly forced into prostitution in 2014 (but was only convicted of assault and a weapons charge), and name dropping Drake’s Lover Boy album.

He then refers back to a line Drake had in “Family Matters” where Drake said “Always rappin’ like you ’bout to get the slaves freed,” flipping it around. He accuses Drake of exploiting Atlanta-based artists for his own gain, akin to slavery. He runs through a litany of Atlanta stars who have guest appeared on Drake’s songs, including Future, 21 Savage, and 2 Chainz. The final verse ends with “You run to Atlanta when you need a few dollars. No, you not a colleague, you a fuckin’ colonizer.”

After that pinnacle of a song, Drake followed up the next day with the lackluster effort “The Heart Part 6” – mimicking Lamar’s “The Heart” song series titling. In the song, Drake goes fully on the defensive, denying he’s a pedophile a handful of times, and that he doesn’t have a hidden daughter, giving legitimacy to lines that were clearly not realistic when they were first rapped by Lamar, but now elevated to new heights by having been acknowledged by Drake. He should have left well enough alone, or picked new roads to go down. Instead, Drake continued attacking Lamar with the domestic violence and illegitimate fatherhood notes from previous songs.

Not only had Kendrick released the phenomenal “Not Like Us” just 24 hours earlier, “The Heart Part 6” was widely panned, hitting an ignominious 1 million dislikes achievement on YouTube. The general consensus is that this is where Drake unequivocally lost The Beef. Kendrick had proven his lyrical and musical prowess, and Drake had to move on. Of course things didn’t really end there, and it has yet to prove if it has had any material affect on Drake’s popularity, but it has certainly helped Kendrick achieve greater heights. And he is not letting anyone forget it.

Begin the Victory Laps

Kendrick hosted a concert on Juneteenth – another indirect slavery dig at Drake – called “The Pop Out: Ken & Friends.” The concert lasted over three hours, and featured over 25 West Coast artists, including Tyler, the Creator. It was split into three “& Friends” sets, with DJ Hed leading the first set: a showcase of up-and-coming LA rappers. Act II was led by Mustard and featured a long set of Mustard-produced tracks with special guests singing their own songs. Act III was Kendrick’s time to shine. He opened with “Euphoria” with some new lyrics dissing Drake, and proceeded to play other Drake diss tracks “Like That” and “6:16 in LA.” After 15 songs, with Jay Rock, Ab-Soul, and ScHoolboy Q all making appearances, Kendrick brought Dr. Dre out on stage to perform “Still D.R.E” and “California Love,” which Dre had performed originally with 2Pac. Dr. Dre then got the crowd to quiet down, and whispered the opening line to “Not Like Us” – “Psst, I see dead people.” Which led to Kendrick performing “Not Like Us“ five times back to back, each with a little bit different set of flair.

On the 4th of July, Kendrick released the music video for “Not Like Us,” which featured at the beginning of it a snippet of a then-unknown song, later to be revealed as the fantastic “Squabble Up” from GNX, shown in the video at the top of this post. The “Not Like Us” video notably celebrates West Coast and LA rappers. It closes the door on the accusations made by Drake across a few of his diss tracks by showing Kendrick’s entire family happily dancing together in the video, and having the video co-directed by none other than Dave Free.

On September 11, Kendrick released an untitled, Instagram-exclusive song that has come to be known as “Watch the Party Die.” In it, he references The Beef, but does not overtly diss Drake, concentrating instead on the cultural relevance of influencers, materialism, and celebrity culture on the hip hop industry in general. It was posted at 8pm, just when the 2024 Video Music Awards were starting, likely intentionally calling out the award ceremony.

And that is Kendrick Lamar’s 2024, up to the release of GNX on November 22. But first, to give full consideration of The Beef up to current day: Drake is not ready to give up. On November 25, Drake filed a petition against Universal Music Group and Spotify, claiming they had conspired to artificially inflate the popularity of “Not Like Us.” A day later, Drake filed a 2nd petition against UMG, claiming defamation for them not having stopped the release of a song falsely accusing him of being a sex offender, as well as UMG creating an illegal payola scheme with iHeartRadio. On January 14 of this year, Drake dropped the petition against UMG and Spotify, but the defamation claim remains. A day later, Drake filed a formal lawsuit against UMG, “the music company that decided to publish, promote, exploit, and monetize allegations (in “Not Like Us”) that it understood were not only false, but dangerous.” It is not likely the active lawsuit will keep Lamar from playing the song at the Super Bowl, but it does make the upcoming experience a little bit contentious and exciting.

What Were We Talking About? Oh Yeah, GNX.

On the morning of November 22, around 8:30am PST, Lamar released “GNX,” a one-minute video without any description, and ending in a simple white-on-black treatment of the letters “GNX.” The snippet of song in the video has not appeared in any other recording from Lamar, giving clear indication that there is still more to come (maybe before the Super Bowl?). Thirty minutes after the release of the video, the album GNX hit streaming services, and within 20 minutes of the release I’d seen a notification somewhere and was downloading the album to immediately put in my ears. Having watched all of The Beef happen in near real time, I was more than primed for the album’s majesty, and it did not disappoint.

From my untrained ears, GNX is more approachable, and simpler, than Lamar’s past efforts. Aside from the names mentioned elsewhere in this novel of a post, GNX was mainly produced by Sounwave and Jack Antonoff (he’s everywhere), to great affect. I didn’t have Lamar’s first two albums (2011 and 2012) on the Top 31. All of his other albums have made an appearance, from To Pimp a Butterfly at #29 in 2015, DAMN. at #22 in 2017, Black Panther: The Album at #21 in 2018, and finally Mr. Morale & The Big Steppers at #16 in 2022. All of them are masterpieces in their own way, but none of them have been a mainstay in my daily listening like GNX has been.

It is a perfectly sequenced album. The first track “wacced out murals,” references The Beef a few times, but chooses to rise above the direct attacks on Drake, choosing instead to put everyone to task. “It used to be ’Fuck that n****,’ but now it’s plural. Fuck everybody.” He gets straight to the point, intentionally. “This is not for lyricists, I swear it’s not the sentiments. Fuck a double entendre, I wan’t ya’ll to feel this shit.” No more beating around the bush.

From there, Kendrick goes into the bouncy “squabble up,” which starts with the fantastic line “Woke up lookin’ for the broccoli, high-key, keep a horn on me, that Kamasi,” referencing Kamasi Washington, an American jazz saxophonist who also has production credits on the album. Rhyming “broccoli” with “Kamasi,” how can you not smile? The third song, “luther” is a beautiful, slow duet with SZA (#7 in 2022³), evoking similar feelings to “All the Stars,” their duet on the Black Panther Soundtrack.

“Man at the garden” is the fourth song from the album. It’s a slower, downbeat song that Lamar uses to give a complete and thorough description of why he is deserving of any and all accolades that are directed at him. He refers to The Beef, ending the song with a very impassioned “Tell me why you think you deserve the greatest of all time, motherfucker.” Song 5, “hey now (feat. Dody6)” gives me my favorite guest appearance of the album. The song starts with Kendrick rapping in the low register. Over the song he slowly gains volume and energy, climbing an octave and driving more anxiety as he does it. When Dody6, an up-and-coming West Coast LA rapper, joins the fray, his delivery is entirely unique. There’s a laid-back Snoop quality to his bars, but with an urgency underlying it all that is all his own. I will be looking out for more work by him.

The sixth song, “reincarnated,” is the heart of the album. In it, Kendrick draws connections to past extreme rises in fame paired with self-destruction, telling the stories of (without naming) John Lee Hooker and Billie Holiday before turning the magnifying glass on himself, all in an attempt to keep his own extracurriculars in check. The song culminates in a crazy back and forth where Kendrick is talking to God, voiced by himself. “tv off (feat. Lefty Gunplay)” is a high energy song that gave the world “MUSTAAAAARRRRD,” that I’m sure you’ve heard many times by now.

“Dodger blue (feat. Wallie the Senset, Siete7x, and Roddy Ricch)” slows things down again, with a 90s-esque R&B slide beat that will have you boppin. “peekaboo (feat. AzChike)” is an odd outlier that is deceivingly simple, repeating “What they talkin’ ’bout? They ain’t talkin’ ’bout nothin’” over and over again, with a few other lines that start with the word “peekaboo.” Still, it is an addictive listen.

“Heart pt. 6” (where Kendrick reclaims the title of the song back from Drake), marks the first time he includes a song from the series of The Heart songs on a proper full-length album. It is beautiful. The next song, the title song, featuring Hitta J3, YoungThreat, & Peysoh, is carried by a back-masked beat that drives the song quietly forward while the lesser-named kids take a chance at the rhymes. The twelfth, and last, song on the album, “gloria,” is another duet with SZA. The two of them have such clear chemistry musically, and this song is no different.

It’s been announced that SZA will be appearing in the Super Bowl Halftime show with Kendrick, as well as double-billing with him on their summertime stadium tour. I cannot wait to see what else the future holds for Kendrick Lamar that we’ll get to enjoy. It’s all but a given that there’s another album coming this year. And seeing he and SZA live on stage in May here in Seattle is going to be huge. Maybe something more will come from Drake’s lawsuits, who knows. But one thing is for sure, I’m now a fully committed Kendrick Lamar fan, and I’m here for whatever he brings next. Thanks for reading along.

^{1. I’m sorry I can’t point you to the exact data points I’m referencing – I swear I read exactly what I’m reporting here recently, but I can’t for the life of me find that reference now. Nonetheless, it makes for a good story, so I’m sticking with it.↩}
^{2. On April 5, J. Cole was the first to respond to Lamar’s dig, on his own “7 Minute Drill.” In it, Cole blasts Kendrick’s album To Pimp a Butterfly, among other things. But two days later, Cole publicly apologized onstage for releasing the song and removed it from streaming services, effectively removing himself from the building melee. ↩}
^{3. On December 20, SZA released a new deluxe version of her stellar 2022 album SOS, called LANA, featuring 15 new tracks added to the front of the album, and including a duet with Kendrick Lamar.↩}

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Welcome to the fourteenth annual Bacon Top 31. 14! At the completion of this list, I’ll have written a blog post for 436 albums since I began back in 2009. And I still look forward to writing and sharing my top albums, every year. It’s likely because I don’t write throughout the rest of the year. Rather, I listen. My music consumption remains as active as ever: I constantly seek out new albums, and I’m almost always listening to the album I most recently found. The act of collating, ordering, writing about and weighing each against the others as well as the events of the year that led them to be loved by me hits many different pleasure points in my brain.

14 years as an amount of time feels relatively short, until you really start to examine what has transpired in the interim. In 2009, for instance, Barack Obama was inaugurated as the 44th US president and Michael Jackson died; Captain Philips’ cargo ship was boarded by pirates and Captain Sully Sullenberger landed his plane safely in the Hudson River (both stories were recreated as movies with Tom Hanks in the lead, in 2013 and 2016, respectively). In 2009, the iPhone 3GS was released, Facebook had not quite reached 500 million users (they’re now at nearly 3 billion users monthly), and Instagram had not even been invented yet!

That’s enough about the past, let’s get back to the present. For the next 31 days I’ll be counting down my favorite albums from 2022. I hope you read and listen alongside me, confirm or deny your own preferences against mine, and find some new music you hadn’t yet heard. Let’s get to it.

CAPRISONGS by FKA twigs

By the time Tahliah Debrett Barnett, otherwise known as FKA twigs, released her first official recording, 2012’s EP1, at 24, she’d been making a name for herself as a backup dancer in music videos, for the likes of Kylie Minogue, Jessie J, and Ed Sheeran. EP1 had four songs, and a year later, EP2 came out with an additional four songs. Twigs learned early on how to channel the raw energy that comes from dancing in sex-and-image-first videos into her own music: she produced a video for each of those eight songs on the first two EPs, understanding the influence those visuals could have on her listening world.

In 2014 she released her first full length, LP1, which was the #10 album that year. That album had twigs singing in her signature falsetto, softly and intimately as if she’s lying next to you on the same pillow, with her lips next to your ear. CAPRISONGS is much more forward, more bold.

The album is technically a mixtape, but don’t look to me to define the difference between that and an album — I tried to figure it out, but failed. Twigs brings the term to the fore by peppering the album with the sounds of a cassette tape being loaded and a tangible, tactile PLAY button being pushed. Perhaps calling this a mixtape rather than an album is the easiest way twigs could break her own mold. Her falsetto is still there, but so, too, is her naturally-unaffected voice, sometimes pushed through machine modification, sometimes angrily barked. Many guest singers and rappers appear alongside twigs throughout the record: Pa Salieu, Dystopia, Rema, Daniel Caesar, Jorja Smith, and Unknown T all make an appearance. The Shygirl fueled “papi bones” is a personal favorite, with its driving, dance-heavy beat that demands the listener move their body. The Weeknd makes the biggest splash on the album, with the duet “tears in the club” featured in the video above.

fka Twigs is an enigma, a blend of beat-heavy indie pop, avant garde artistry, and primal urge. She flourishes at the intersection of Björk (artistic musical expression), Grimes (indie dance yumminess), and The Knife/Fever Ray’s Karin Dreijer (thrill and horror imagery), and if you like any one of those artists then you’ll feel right at home with CAPRISONGS. Seek it out at the links below, and then check back in tomorrow for something entirely different.

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#1 on the 2024 Bacon Top 31 — Kendrick Lamar

#31 on the 2022 Bacon Top 31 — FKA twigs

#21 on the 2018 Bacon Top 31 — Kendrick Lamar

#6 on the 2016 Bacon Top 31