Drake vs. everyone, explained

Everyone involved in Drake’s latest — and biggest — feud.

To borrow a phrase from our foremost cultural observer, Azealia Banks, the boys are fighting.

Since the explosive drop of producer Metro Boomin and rapper Future’s first joint album, We Don’t Trust You, on March 22, a cold war has broken out involving the duo and the rest of hip-hop’s top-tier (male) millennial roster: Drake, J. Cole, Kendrick Lamar, and A$AP Rocky. It’s been a strange few weeks, with shots being thrown in an extremely public and increasingly amusing way. In an utterly baffling move, Cole made a public apology for his own diss track, bowing out of the beef early. Meanwhile, like any argument you might see among a group of rich women on Bravo, Drake is being put on blast for his rumored plastic surgery. (Thank you, Megan Thee Stallion.)

This isn’t the first time this particular group of A-listers — all of whom dominated the mainstream rap charts of the 2010s — have exchanged lyrical blows. In particular, Drake and Lamar have sneak-dissed each other for a while now. However, to the average music listener, all these men have a more well-known history of collaboration, including features, a joint album, and tour stops. Lamar’s fiery verse, however, on the We Don’t Trust You track “Like That,” has shattered any remaining semblance of camaraderie. In the weeks since, Future and Metro have released yet another rage-fueled album, hilariously titled We Still Don’t Trust You. And Drake finally — if not clunkily — released his own sprawling diss over the weekend, name-dropping everyone from SZA to Maroon 5 to Swifties. Did I mention Uma Thurman is also involved?

After nearly 15 tumultuous years in the game, it’s no surprise that Drake has once again found himself on the receiving end of some hate. Still, this latest beef could be exactly what rap’s sensitive king needs in a rather uninspired era in his career, defined by a rather dull musical output and gross jabs at women.

Who’s beefing with who?

Johnny Nunez/Getty Images for The Recording Academy

A few weeks ago, Future and Metro essentially released a breakup album from their frequent collaborator and former comrade, Drake. (Drake and Future have nearly 30 collaborations combined, and Metro executive-produced their 2015 mixtape What A Time to Be Alive.) We Don’t Trust You is packed with subliminal messages seemingly directed at Drake, regarding his shady maneuvers. However, it was Kendrick’s relatively gentle prodding on the track “Like That” that was ultimately the most incendiary.

On the track — which has sat at No. 1 on the Billboard Hot 100 for three weeks in a row now — he raps “Motherfuck the big three, it’s just big me,” renouncing his informal association with rap peers Drake and Cole. On the recent Drake song “First Person Shooter,” off his latest album For All the Dogs, Cole claimed on his guest verse that he, Drake, and Lamar are the “Big 3” of the current era of hip-hop. Nevertheless, Lamar’s ire on “Like That” is mostly pointed at his noted frenemy Drake, brushing off his purportedly unstoppable commercial success. “Your best work is a light pack,” he asserts. “N—, Prince outlived Mike Jack.”

Cole responded first on April 5 with the track “7-Minute Drill,” featured on his aptly titled mixtape Might Delete Later. Cole throws shots at Lamar’s Pulitzer Prize-winning discography, calling his latest album Mr. Morale and The Big Steppers “tragic” and claiming his Grammy-winning sophomore album Good Kid, Maad City “put [listeners] to sleep.” He also promises to “humble” Lamar if “push comes to shove.”

However, by April 10, Cole had rescinded his warning shot, including removing “7-Minute Drill” from streaming platforms. At his annual Dreamville Festival, he issued a heavily mocked quasi-apology to Lamar. “I tried to jab [Lamar] back, and I try to keep it friendly,” he told the crowd in North Carolina. “But at the end of the day when I listen to it, and when it comes out and I see the talk, that don’t sit right with my spirit.”

Before Drake could unleash his own diss, Future and Metro released the follow-up, We Still Don’t Trust You, on April 12. This time, A$AP Rocky got some punches in. On the song “Show of Hands,” he rapped “N—-s in they feelings over women. What, you hurt or something? I smash before you birthed, son. Flacko hit it first, son.” This is presumably a response to Drake apparently dissing A$AP and his partner Rihanna, whom Drake previously dated, on his song “Fear of Heights.” (Fans have also speculated that A$AP means he previously slept with the mother of Drake’s son.)

Another one of Drake’s most famous industry mates, The Weeknd, appears on both Future and Metro albums. However, on We Still Don’t Trust You’s eighth track, “All to Myself,” he sings, “I thank God that I never signed my life away.” Fans interpreted that as a jab about Drake’s label OVO Sound, which, despite his heavy association with the label, The Weeknd ultimately never signed to.

Who is Drake dissing on “Push Ups”?

On Saturday, April 13, Drake’s long-awaited response titled “Push Ups (Drop & Give Me Fifty)” mysteriously made its way to the internet. The seemingly unmixed demo made many social media users speculate whether the song was AI-generated before noted hip-hop commentator DJ Akademiks eventually played it — noticeably with some tweaks, like the omission of a line about P. Diddy and a different beat — on his livestream. Hip-hop radio station Power 105 also streamed a high-quality version of the song. Given Drake’s comments on Instagram over the weekend, including a photo of Uma Thurman single-handedly taking on a group of fighters in the 2003 film Kill Bill, all signs point to the track being legitimate.

That said, “Push Ups” is a hefty (and expectedly humorous) diss record, taking aim at Drake’s aforementioned opps while pulling some other parties into the crossfire. One of them is the Weeknd’s manager, CashXO, who he accuses of “blowing Abel’s bread trickin.” He also takes shots at Memphis Grizzlies player Ja Morant, who fans are speculating he was previously in a love triangle with.

In probably the silliest development of this multi-pronged feud, he throws some digs at rapper Rick Ross, another frequent collaborator of his. “This n— turning 50,” Drake raps. “Every song that made it on the chart he got it from Drizzy.” Ross swiftly followed up with his own diss called “Champagne Moments,” which quickly went viral. Among other insults and accusations, he calls Drake, who’s mixed, “white boy” and claims he got a nose job.

Johnny Nunez/WireImage

As for Lamar, Drake offers a pretty comprehensive rebuttal, poking fun at Lamar for apparently wearing a “size 7 shoe” and his collaborations with pop acts like Maroon 5 and Taylor Swift’s “Bad Blood.” (Lest we forget, Drake has also linked up with Swift for a check.) He also names some artists who he feels have surpassed Lamar’s stardom, including SZA, who’s signed to Lamar’s own Top Dawg Entertainment label. (She apparently doesn’t want to be involved.) There’s also a bar that many listeners, including DJ Akademiks, interpreted as an audacious mention of Lamar’s fianceé, Whitney Alford (“I be with some bodyguards like Whitney”). However, this could also be a misreading of a more obvious reference to the Whitney Houston film, The Bodyguard.

The industry may be against him, but Drake has always thrived in a beef

“Push Ups” aside, Drake has handled his public gang-up with an expected sense of humor and irreverence. In addition to an exchange with Uma Thurman, he shared a perplexed text message from his mother, Sandi Graham, inquiring about his alleged cosmetic surgeries on his Instagram Stories. He’s also used the platform to further troll Metro, who he told to “shut up and make some drums” on “Push Ups,” in the following days.

As anyone who’s even slightly followed rap over the past decade and a half can attest, this isn’t Drake’s first time engaging in warfare with his peers. Most famously, his career has seen headline-generating battles with Meek Mill, Pusha T, Joe Budden, and Kanye West. Arguably, his most infamous tiff was the culmination of a long-brewing beef with Pusha T in 2018, where the Virginia rapper exposed Drake’s formerly hidden son Adonis to the world.

Despite the brief moment of humiliation, Drake ultimately emerged the victor — that is, if you’re using chart numbers and general popularity as a determining metric. After his moderately received victory lap of an album, Views, he was given a more gripping narrative to fuel his blockbuster 2018 album Scorpion. At the same time, he was once again proving his mass appeal outside of the rap audiences with party bangers like “God’s Plan,” “Nice For What,” and “In My Feelings,” all of which reached No. 1 on the Billboard Hot 100.

More recently, however, Drake has been involved in several seemingly one-sided beefs with famous women. On his 2023 song with 21 Savage, “Circo Loco,” he threw out a not-so-subtle diss at rapper Megan Thee Stallion (“This bitch lie ’bout getting shots but she still a stallion”), joining a chorus of famous men disputing her now-proven claims that singer Tory Lanez shot her in the foot in 2020.

During the rollout of For All the Dogs, he vexed actress Halle Berry, who claimed he used a photo of her for the artwork for his single “Slime You Out” without her permission. Additionally, he’s attempted to reignite drama with his former fling Rihanna. Aside from his digs on “Fear of Heights,” he played their collaboration “Work” at one of his concerts just to claim that he “doesn’t sing [the] song anymore.”

Drake’s songwriting is often propelled by a sweeping sense of grievance and an obsession with the past and his haters (he’s not that different from Taylor Swift after all!). However, his constant feelings of victimhood within his relationships with women — and the subsequent, more blatant misogyny that’s grown out of that — has begun to wear on critics and parts of his female fanbase. That said, his appropriately savage (yet funny) handling of his latest attack feels reminiscent of a more palatable, forgone iteration of Drake. Watching him navigate the constant betrayals and routine pitfalls that come with fame has been the basis for his more compelling work, like his breakthrough 2015 mixtape If You’re Reading This It’s Too Late, his 2017 mixtape More Life, and the more melancholic parts of Scorpion.

It’s unclear who, if anyone, will respond to “Push Ups” next. The track mostly aimed at Lamar, who has been quiet so far. Right now, Drake may be outnumbered, but as he often does, he’s still finding a way to take the W.