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21 hours ago
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The rapper flaunts his versatility on this 14-track album.
5/18/2026
Drake attends Drake's Till Death Do Us Part rap battle on October 30, 2021 in Long Beach, California. Amy Sussman/Getty Images
Drake’s presence in music has always been disruptive because with hip-hop being his foundation, he has been judged solely as a rapper. However, his foundation does not define his entire being. The Toronto artist has always taken chances, whether it be dedicating almost half of all of his projects to singing, releasing “Marvin’s Room” as a single, making “Hotline Bling,” going full house music on Honestly, Nevermind, so on and so forth.
Experimentation has yielded him much success and lifted up so many other people in the process. This is not to say he made people’s careers, but he did give them huge platforms to display how talented they were. All because he was willing to take risks and enter other musical reason.
So when he promoted ICEMAN as the album he “had to make” so he could make HABIBTI and MAID OF HONOUR, people should really pay attention to that.
The latter is the most free he has ever sounded musically. This cannot be boxed into one genre, much like him. This isn’t meant to be understood immediately, much like him.
This project may be a challenge, especially for those who only enjoy Drake’s rapper or R&B archetype, to be able to embrace these lanes of his musical interests. He gets some help from Sexyy Red, Central Cee, Popcaan, Stunna Sandy, Iconic Savvy, on this wild, unpredictable rollercoaster. Read below to see how we felt about the songs on MAID OF HONOUR, and where they measure up against one another.
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“Where’s Your Stuff Interlude”
There really isn’t much to say about this interlude. The harps in the background sound really nice, but this is a skit, whereas Drake’s usual interludes are actual full records. It’s funny, but ultimately not much to say about it amongst a set of 13 other songs.
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“Amazing Shape” (feat. Popcaan)
It was exciting to see Popcaan make it to a Drake album after the “Controlla” pump fake. They have made great music together in the past, but it was rarely presented properly. It’s clear what they were going for with “Amazing Shape,” and while the beat was nice, this song is very underwhelming. No lines really stick out, the groove is just okay, and when you consider the records in this lane that both have made in the past, it is surprising that this was the final product. There’s just an X-factor missing from the equation.
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“True Bestie” (feat. Iconic Savvy)
There is good energy to “True Bestie.” We can imagine this hitting hard in a live show setting or the car test. Iconic Savvy put up a great performance, with an unrelenting flow and a nice voice. Drake’s part was fine, but not too memorable as of now. “True Bestie” could be a grower over time, but right now, there is too much heat on Maid Of Honour for it to be ranked any higher.
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“Princess”
We’ll always respect an attempt at experimenting, and “Princess” is just that, as Drake’s first true venture into alternative rock. The electric guitar-laden beat is jarring, but he does sound great vocally. The song’s peak is when the production mellows out, and his voice truly gets to shine. Unfortunately, that doesn’t occur long enough to help this song sneak its way into the top 10. It’s an idea that perhaps could have been amazing with more time and care.
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“BBW”
Hey, shoutout to Drake for highlighting a group of women that doesn’t get enough love publicly. They deserve it. “BBW” was a bit of a surprise, considering “BBL Interlude” from 2023 was a ballad and this is another dance joint. This album is full of them, and this one just doesn’t measure up. But the sentiment is appreciated.
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“Which One” (feat. Central Cee)
“Which One” was previewed at Wireless Festival 2025 and was the second single released within the series of three ICEMAN episodes in Summer 2025. It’s a fun, upbeat record reminiscent of Drake’s More Life era, blending Afrobeats, house, and pop. Central Cee especially shows out in his feature.
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“Outside Tweaking” (feat. Stunna Sandy)
Genuinely, this is one of the most unique tracks the father of one has ever made. It is difficult to categorize it between the production, his cadence, and the filter on his voice. All we know is, when that beat doubles, and Stunna Sandy jumps in, the song elevates even further. Everyone should go outside and tweak when this comes on. It is warranted.
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“Q&A”
The franticness of “Q&A” is palpable. Musically, it is an ideal song to dance to, but Drake spends the entire record asking a woman make-or-break questions. It is almost as if they just met at a party, he is already infatuated with her, and in a rush to “close the deal.” Nonetheless, good song. While this is an experimental project, a rap verse here might have actually heightened the record because otherwise his singing delivery is mostly one-dimensional.
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“Goose and the Juice”
“Goose and the Juice” coming from Drake is like when The Weeknd made Dawn FM, specifically “Gasoline.” It’s not that you doubted either guy could produce tracks like this; it just never crossed your mind. Then they do it, and you’re like, “Wow, where has this been this whole time!” Splendid song. He fits the throwback pop lane so well.
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“New Bestie”
Alright, from here onward are songs that already belong in Drake’s all-time conversation. Already. “New Bestie” takes elements of More Life and Honestly, Nevermind, and creates musical excellence. The groove, the beat-switch, the patois, just all of it works. “New Bestie” is simply amazing.
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“Cheetah Print” (feat. Sexyy Red)
Drake and Sexyy Red making a 2026 version of the “Cha Cha Slide” was not on our bingo card, but at this point, we should know nothing is off the table for them. The old school feel of this song is somehow fresh, and it is ready-made for the ladies to twerk to their hearts’ content. Sexyy Red just gets it when she is called upon to make fun music. “Cheetah Print” is a big win for both artists.
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“Hoe Phase”
“Hoe Phase” feels like the cousin of 2022’s “Calling My Name” and “Sticky.” We absolutely love that he played into the house music trope of the beat building up, he rapped on the second portion, and he wasn’t afraid to acknowledge hoe phases. There is a level of “in-touch,” which he has obviously displayed before, but to a whole different level here. Flow state.
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“Stuck”
“Stuck” is Drake’s closest Michael Jackson impression ever. The production is slightly similar to “Don’t Matter To Me” and “Down Hill,” but the added layers and instruments, plus the backing vocals, may just put this song ahead of both of those. On top of that, his variety of wordplay using the word “stuck” is very catchy. This is pop brilliance with a little bit of a hip-hop influence, and he “stuck” the landing–no pun.
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“Road Trips”
“Road Trips” isn’t just music; it is a movie. The progression of the song is overwhelming, as every time you get locked into a certain pocket, it changes. Drizzy lulls you in early, but you can feel the beat about to kick up. Those high notes he hits in the second portion of the song are also impressive for a guy who has been known to not be the best singer. The song peaks during the “Do you really want to spend my money? (Hell yeah)” bridge. There are parts of this song that are almost “Nokia”-esque, and that is fully complimentary. Just a home run.
English (US)