Photo by Denise Jans on Unsplash
After four and a half years of anticipation following Whole Lotta Red—which has now firmly cemented its place as one of the most influential rap albums of the 21st century—Playboi Carti made his return with MUSIC (formerly titled I Am Music). The release is nothing short of a 30-track odyssey, delving into the mind of one of contemporary trap’s most distinctive and experimental voices. The response from his fanbase has been nothing but positive, with Carti enthusiasts celebrating the variety of “Carti archetypes” that are on full display throughout the album. However, despite the general praise, there’s no shortage of critiques: Some argue that the album is far too lengthy, and that its scattered nature makes it difficult to appreciate as a cohesive body of work. Critics are also questioning its production quality, with some asking if the album was even mixed at all. And, of course, there are complaints about the abundance of random sound effects—snare rolls, gunshots, and shoutouts from legendary Atlanta DJ Swamp Izzo, among other oddities.
But to fully appreciate MUSIC, it’s important to look past these critiques and see the bigger picture. The criticism of the album’s “lack of cohesion” seems almost out of place when we’re talking about an artist like Carti, who thrives on boundless energy and unpredictability. Carti’s strength lies not in delivering a polished, linear narrative, but in embracing a certain chaos that, paradoxically, works together seamlessly. The scattered and experimental nature of the album is not a flaw; it’s part of what makes the experience so captivating. It’s this very messiness that draws listeners in, offering a glimpse into the creative process of an artist who is never afraid to break the rules.
While Carti is often hailed as a visionary within the trap music scene, especially for his ability to push boundaries with his malleable voice and avant-garde soundscapes, what truly makes MUSIC an essential follow-up to Whole Lotta Red is its ability to tap into the
nostalgic feeling of listening to street mixtapes from the 2010s. Even though Carti’s influence is undoubtedly felt among Gen Z, he is, in fact, a millennial—just 29 years old—and grew up listening to the rap music of the late 2000s and early 2010s, a time when the streets of Atlanta were laying down the foundations for the modern sound of rap music.
Early reactions to MUSIC suggest that the album might be shaping up to be the most nostalgic rap release of 2025. And in many ways, the album reaches its full potential when Carti leans into those influences from yesteryear. Central to the nostalgic feel of the album is the presence of Swamp Izzo, a figure whose role has generated some confusion in the lead-up to the album’s release. However, upon closer inspection, Izzo’s contributions shine. He’s not just a hypeman; he plays an integral part in the album’s energy, often making his presence known in a way that recalls the mixtape-era collaborations of the past. In fact, his involvement on about a third of the album’s tracks makes him feel like much more than just a guest feature—he’s a collaborator in his own right. His role is reminiscent of DJ Drama’s work on Tyler, The Creator’s Call Me If You Get Lost, but, arguably, Izzo’s contribution here is even more successful. Carti’s unstructured, stop-and-go flow pairs perfectly with Izzo’s hypeman antics, bringing the album closer to the spirit of classic mixtapes where spontaneity and raw energy were key elements.
One track that best embodies this blend of energy and nostalgia is “MUNYUN.” The song stands as a true testament to what makes Carti such an exciting artist: He manages to evoke the feeling of being outside, hanging out with friends, and feeling the energy of the streets, all through his music. The track features a lush, soulful sample from Bill Robinson and The Quails’ 1960s hit, “Lay My Head on Your Shoulder.” But Carti distorts it, adding layers of bass and percussion that give the track a grittier, more grounded feel. The result is a song that feels like it could easily be blaring from a car on a hot day in Atlanta, capturing that sense of summer hustle. Carti’s lyrics reflect this mindset too, with lines like “Came a long way, still can’t believe I made Forbes.” Yet, it’s Swamp Izzo’s drops—his playful ad-libs, his chants of “Carti,” and his hype-man shouts—that give the track its undeniable energy. The entire two-minute stretch of the song becomes a rollercoaster of emotions, with Izzo’s presence fueling Carti’s already fiery performance.
As MUSIC progresses, it becomes increasingly clear that Carti is embracing the mixtape spirit in full force. His nods to older, influential rap songs make the album feel like a love letter to the mixtapes that defined the 2010s. For instance, there’s a clever guitar flip from Ashanti’s 2004 hit, “Only U,” on the track “COCAINE NOISE,” and a homage to SpaceGhostPurrp’s classic street anthem “Fuck Taylor Gang” on “CRANK.” Perhaps one of the most striking moments is “LIKE WEEZY,” which features a sped-up version of Rich Kidz’s “Bend Over,” a track that sounds like it came straight out of 2010, capturing the essence of that era perfectly. And of course, there’s “WALK,” which is an ode to Bankroll Fresh, a street legend whose influence on Atlanta rap is still felt today.
One of the most significant and undeniable influences on MUSIC is Lil Wayne. The iconic rapper’s presence is felt throughout the album in subtle ways. Carti even pays direct homage to Wayne on the track “LIKE WEEZY,” where he raps about owning a two-tone AP watch, much like Wayne did during the height of his career. But it’s not just the explicit references to Wayne; the entire I Am Music era seems to have shaped the project. The phrase “I Am Music” also happens to be the title of Wayne’s greatest hits compilation, and Carti’s use of it feels like a natural extension of Wayne’s influence on his work.
A particularly intriguing moment comes on “RADAR,” where an ad-lib sounds strikingly like Wayne saying “Carti’s world.” There’s some debate over whether it’s actually Wayne himself, Carti, or even AI generating the sound, but the nod to Wayne’s legacy is unmistakable. Additionally, Carti’s track “BACKD00R” features a sample from Wayne’s rare cut “Red Rum,” adding yet another layer of tribute to the rapper who helped define the mixtape era. Even outside of the music itself, Carti’s visual motifs echo Wayne’s early days, as Carti adopts a more streetwear-inspired aesthetic, leaning into looks that feature Pelle Pelles, backwards NBA jerseys, and durags. The entire rollout of MUSIC seems to be drawing from the same anticipation that surrounded Wayne’s Tha Carter 3, which is often considered one of the most highly anticipated albums of all time.
Despite its many highs, MUSIC is not without its flaws. But as with all great mixtapes, perfection isn’t the point. There’s no Illmatic equivalent of a mixtape, which was always a medium for experimentation—whether that meant unconventional flows, sampling
obscure tracks, or breaking traditional structures. This is exactly how Carti approaches MUSIC: as a testing ground for new ideas and sounds.
Of course, the album has its low points. Tracks like “WAKE UP FILTHY” and “TWIN TRIM,” which features Lil Uzi Vert, fall flat in comparison to the album’s more experimental moments. And “RATHER LIE,” a collaboration with The Weeknd, feels oddly lifeless despite the star power on display. But much like the mixtapes that came before it, MUSIC is not defined by its consistency. Instead, it’s about the highs—those moments of pure energy and creativity—that make the lows seem insignificant.
In many ways, MUSIC offers a perfect follow-up to Whole Lotta Red. While Carti’s previous album helped define the new wave of trap, MUSIC looks back, drawing inspiration from the rap music that shaped his upbringing. If Whole Lotta Red pushed trap forward into new territory, MUSIC pulls from the past, giving fans a nostalgic journey that feels both fresh and familiar. The album’s willingness to embrace its influences—while still remaining true to Carti’s unique style—proves that nostalgia doesn’t always have to be a retreat. Sometimes, it can be the fuel that drives new and exciting creative breakthroughs.
In the end, MUSIC may not be perfect, but it doesn’t need to be. It’s a love letter to the mixtapes of the 2010s, a celebration of Carti’s creative freedom, and a testament to the timeless energy of rap’s street origins.
