Iceman Review

This is my review for Drake’s album Iceman. I listened to every song a few times and decided to finally sit down and put my thoughts together. I want to preface this by saying that I’m not a Drake stan, but I am a fan. I’m going to give my thoughts on each song first, then give my overall thoughts on the album followed by a rating.

I’ll start with “Make Them Cry,” which I believe is the intro.

Make Them Cry

I like this intro a lot. Drake feels like he’s unpacking a lot emotionally, even though he says he’s scared to really do it. He seems like he doesn’t trust people around him anymore, especially when he mentions someone in his circle pawning one of his chains. I honestly don’t know why he was so offended by that though. People must eat somehow.

What I really like here is that we’re hearing Drake after the battle. It feels like the dust has finally settled and now we’re hearing his actual thoughts instead of just diss tracks and responses. Drake mentions hating when people tell him to “dig deeper,” but honestly that has been one of my issues with some of his older work too. That’s why the line at the end stood out to me:

“And this time, ask me to dig deeper, I’ll gladly explain it.”

That line makes it feel like this album is going to be more personal and more direct than some of his previous projects.

I also liked him mentioning battling UMG and the majors in general. It sounds like the beef opened his eyes to how the industry moves behind the scenes. He also talks about aging, which caught my attention because I’ve been wondering for a while how Drake would evolve as an artist as he gets older.

Another thing I liked was him mentioning that there wouldn’t be a bunch of features on the album. Drake sounds like he has a chip on his shoulder here, and honestly, I think that version of him usually makes the best music.

I really enjoyed this intro and it made me excited for the rest of the album.

Produced by Boi Yanel, Maneesh, Manny Manhattan, O Lil Angel & Skeyez.

Dust

The beginning of this song threw me off because I really did not like the flow at first.

“Girls from Atlanta call me Santa, girls from Australia what can I tell ya?”

That line just wasn’t pulling me in initially.

I did like the beat though, and once the instrumental switches up the song gets much better. Drake immediately sounds more aggressive and focused after the transition. He starts reminding everyone of his credentials, flexing his success, wealth, and influence while basically saying a lot of these people would not have become as big without him being involved in the culture.

He also slips in a line about not using bots, clearly implying that somebody else is. Considering how often that accusation came up during the Kendrick battle, it doesn’t feel accidental.

This track feels more like a setup record than a major moment by itself. It feels like Drake warming up before going deeper into the album’s themes.

Produced by 20, Boi Yanel, Geminichxld, Hanz (NOR), Manny Manhattan, Max Moise & Sem0r.

Whisper My Name

This song honestly was not one of my favorites on the first listen, but reading the lyrics changed my opinion a lot. It probably didn’t help that I was driving the first time I heard it.

The song feels like Drake challenging people directly to speak on him instead of hiding behind sneak disses or internet narratives. He talks about people getting lazy and taking deals in court because they’re informants, which adds to the paranoia and distrust that has already been building throughout the album.

One line that stood out to me was when he said he’d see someone flying economy if he was lying. I’m not fully sure who he’s talking about there, but after the “20 vs 1” situation in 2024, there are definitely a few possibilities.

Another line that caught my attention was:

“What kinda man are you? A middle one.”

My first thought was that this was aimed at J. Cole because of the “Middle Child” reference, especially considering how Drake still seems frustrated that Cole stepped away from the beef.

He also says the situation could not be fixed even with Louis Farrakhan involved, which made me think he was referencing Kendrick Lamar again.

The boldest line on the track to me was the “$500k over dinner” bar, which sounds like a shot at Jay-Z. If that’s really who he meant, it’s a bold move considering Hov’s status in hip-hop.

I’m glad I gave this song another chance because it grew on me a lot after multiple listens.

Produced by Azul, b4u, Ben10k, Hidde, London Cyr, Nik D, OZ & Sucuki.

Janice STFU

Drake mentions in the first chorus that his label needs to free him, which lines up with rumors that he released multiple projects to fulfill obligations and move closer to independence.

The first verse feels like another shot at Jay-Z. I wonder if some of that frustration comes from the Super Bowl performance being headlined by Kendrick and connected to Hov behind the scenes.

One of the recurring themes throughout this album is Drake reminding people that he is still musically dominant whether people want to admit it or not.

The second verse seems more focused on Kendrick, especially when Drake questions whether some of the community work and activism are genuine or performative.

So far one thing I can confidently say is that I’ve loved the production choices across this album. Even when I don’t fully love a song lyrically, the beats keep me engaged.

Produced by b4u, FNZ & Rogét Chahayed.

Ran to Atlanta

This song features Future, which surprised me considering Future was heavily connected to Kendrick through “Like That.” Seeing him here makes it seem like they patched things up behind the scenes.

That also made me wonder about Metro Boomin. Future says “Cuttin’ ties with all friends,” which makes me wonder whether Metro is included in that or not.

This track also features Molly Santana, and this was my first time hearing her music. She makes sure you remember her name because she repeats it throughout the track. I’d probably check out more of her work after this.

Overall, though, this was probably my least favorite song on the album. It’s not bad, but compared to the tracks around it, it just doesn’t have as much substance.

Produced by b4u, Dez Wright, Digital Jet, Jack LoMastro, MXSSIVH, SkipOnDaBeat, Smash David, 9Jay, Southside & Wheezy.

Shabang

“Shabang” is a good song and features ad-libs from Quavo. The energy on this one is more aggressive, and it feels like Drake is still indirectly addressing Kendrick in certain lines.

It makes me wonder if this is even fully “over” at this point or if Drake still wants that back-and-forth to continue. Some of the lines about not recognizing people at the top of the charts feel like he’s dismissing the current landscape entirely.

I also liked the confidence in his delivery here. Even if you don’t agree with everything, he’s saying, he sounds locked in.

Produced by 40 & Maneesh.

Make Them Pay

Drake starts this track with “I just wanna be free,” which feels like another reference to his label situation and wanting more control over his career.

The beef seems to have opened his eyes not just to the competition, but to the industry structure. There are also moments that feel like shots at J. Cole again, especially around the idea of stepping away or not fully committing when things got serious.

He also brings up Kendrick again, including claims that streams or numbers were manipulated or not fully legitimate, which has been a recurring theme throughout the project.

There are also subtle mentions of Pharrell Williams and DJ Khaled, which feel more like commentary on who stayed involved and who stayed quiet during everything.

Overall, this one feels like Drake still processing the aftermath while staying on attack mode.

Produced by Flywilliums & Ovrkast.

Burning Bridges

This track feels more personal. Drake talks about not being able to move to LA with Rihanna to start a family because of his responsibilities in Toronto.

I’ll be honest, I don’t fully agree with that framing. It sounds more like a limitation he accepted rather than something impossible to balance. It gives the impression that he prioritized career over that relationship in a very final way.

He also brings up A$AP Rocky and Rihanna again, including comments about promotion and loyalty. It feels like he’s revisiting old relationships through the lens of current resentment and reflection.

This is one of those songs where the emotional content stands out more than the actual replay value.

Produced by 2one2, 5EBAS, Alex Lustig, b4u, Digital Jet, Eli Brown, London Cyr, Prodkavin & Smash David.

National Treasures

This track stood out because of the way Drake references Toronto culture and basketball legacy, especially around DeMar DeRozan.

The tone here feels more dismissive toward DeRozan’s legacy in Toronto, especially in comparison to the championship run with Kawhi Leonard.

There are also lines that feel like shots at Kendrick again, especially in the way he talks about people being sent home or discarded after the battle.

This track feels like Drake is collecting every grievance and moment from the past and putting them into one place.

Produced by Ambezza, b4u, Boi-1da, OZ, and others.

B’s on the Table

This track feels like it’s centered on money, ownership, and independence. Drake keeps reinforcing the idea that he has massive financial leverage and that his value is being underestimated.

The “B’s on the table” idea feels like both a flex and a statement about negotiation power with his label.

There are also references to streaming performance and the disconnect between popularity and actual compensation.

21 Savage appears on the track in a more supporting role, mainly through the chorus.

This one feels more industry-focused than diss-focused, even if the tension is still present underneath.

Produced by b4u, Dylan Hyde, Jeek, London Cyr, O Lil Angel & Rogét Chahayed.

What Did I Miss

This is one of the stronger tracks emotionally. Drake sounds genuinely frustrated here, especially when talking about people switching sides during the beef.

The idea of inviting people into your life and then realizing they were never fully on your side is the main theme here.

Even though he claims it doesn’t bother him, it feels like something that still weighs on him more than he wants to admit.

This is one of the more replayable tracks on the album for me because of how direct it feels.

Produced by DJ LEWIS, Elyas, Evîn Kücükali, FNZ, Gyz, London Cyr, O Lil Angel, OZ, Patron & Tay Keith.

Plot Twist

This track feels like Drake reflecting on a wide group of people in the industry, including Tory Lanez, Young Thug, and The Weeknd.

Some of it feels supportive, especially toward Tory and Thug, while other parts feel more complicated depending on past relationships.

There’s a heavy sense of betrayal and distance here, like he’s reevaluating who stood with him.

Produced by AzizTheShake, FNZ, Jeek, Hidde, London Cyr & Tom Levesque.

2 Hard 4 the Radio

This track has a very old-school West Coast energy to it, almost reminiscent of Too Short/ Mac Dre and the Bay Area sound in general.

The beat switch gives it that “TV Off” type energy, and Drake sounds especially focused here.

There are clear shots directed at Mustard, especially around production influence and hit-making ability.

It feels like Drake is reminding people that certain sounds and success eras were shaped with him in the picture.

This might be one of the more enjoyable records on the album from a pure vibe standpoint.

Produced by Ben10k, Karri, Mars (DEU), OZ, P-LO & Thomas Madynski.

Make Them Remember

This track feels like Drake doubling down on everything he’s been saying throughout the album. The energy is defensive but also reflective, like he’s trying to make sure nothing gets forgotten from this era.

He continues addressing betrayal, industry politics, and loyalty, while also reinforcing his own status in hip-hop.

There are also shots that feel aimed at multiple figures in the industry, including references to legacy, credibility, and authenticity.

One of the strongest parts of the track is how direct he is. There’s less ambiguity here and more straight-forward messaging.

Produced by Boi-1da, Ben Lusher, Coop The Truth, DRTWRK, Ties, Ashton Sellars, Brandon Chase Sr. & KACE.

Little Birdie

This track starts with a shoutout to Virgil Abloh, which immediately sets a more reflective tone.

After that though, the song feels more scattered. It touches on betrayal and industry relationships, but it doesn’t land as strongly as some of the other tracks on the album.

There are ideas here that feel meaningful, but they don’t fully come together for me.

This is one of the weaker points of the project in my opinion, and probably a skip on replay.

Produced by 40, Ben10k, DJ Frisco954, Hidde, Jester Beats, London Cyr & rl.

Don’t Worry

This track is more laid back compared to the rest of the album. Drake mentions Nicki Minaj and Cardi B in passing, which stood out because of their long-standing tension in the industry.

There’s also a sense that Drake is highlighting who he still has relationships with and who he doesn’t.

It’s not one of the strongest tracks, but it helps reset the pacing after the heavier songs before it.

Produced by b4u, Batmanonthebeatz, Glitchrealm, O Lil Angel, Nasamadeit, Sledgren & Spvde.

Firm Friends

This track feels like Drake focusing more on loyalty and personal relationships. He seems more reflective here, emphasizing who he can trust after everything that’s happened.

There’s also a theme of maturity, like he’s separating real connections from industry relationships.

I relate to the idea here that you don’t really know someone until you’ve gone through something difficult with them.

This is one of the more grounded tracks on the album.

Produced by Al Hug & Conductor Williams.

Make Them Know

This is the closing track, and it feels like Drake trying to tie everything together. He sounds tired but still confident in where he stands.

He references the lawsuit again, his catalog, and his place in hip-hop history. There’s also continued mention of Kendrick Lamar and comparisons in terms of legacy and replay value.

The ending feels like he’s trying to make it clear that even if things are uncertain right now, he’s not going anywhere.

It’s a strong closing in terms of message, even if it leaves things open-ended.

Produced by 5EBAS, Anthony Hannides, Gabe Lucas, Joey Ramirez, LAF Collective, O Lil Angel, OZ, Patron, Timothy & MakeYouKnowLove (MYKL).

Overall

I’ll be honest, I did not expect Drake to come back with an album like this. After my first listen of “What Did I Miss,” I honestly thought this era might not land for me at all.

But after multiple listens, I started to understand what he was doing here.

At first, I wanted the album to focus strictly on aftermath and reflection, especially around the lawsuit and everything that happened. But the more I listened, the more I appreciated that he didn’t ignore the past beefs. Instead, he used them as context for how he’s feeling now.

The production throughout the album is easily one of the strongest parts. Even when I don’t fully connect with certain lyrics or ideas, the beats and overall sound design keep it engaging.

My first impression of this album was around a 6/10. After more listens, I realized I wasn’t really giving it a fair chance.

Now I’d confidently land it at an 8/10.

Drake proves with Iceman why he is still one of the most impactful artists of his generation, even if you don’t always agree with where he’s coming from.