If one is to regard a hip-hop battle as a sport, a binary in which any battle which is won is therefore also lost by another party, then Kendrick Lamar won his 2024 squabble with Drake in resounding fashion. On Future’s “Like That”, Kendrick already entered the pantheon of great rap battle verses, but Kendrick did not respond to his lead by playing defense—he ran up the score. First came “Euphoria”, a relentless, ferocious six-plus minutes of pure hatred placed over a trap beat. Then came “Meet the Grahams”, a horrorcore message to Drake’s family with shades of Eminem’s terrifying letter-as-song “Stan”. And then came the magnum opus, “Not Like Us”, which doubled as a danceable party track and a continuation of Drake criticism. “Not Like Us” became Kendrick Lamar’s third number-one single, and on paper by far the least likely. It was one thing to go to number one while guest-versing on a Taylor Swift single off what was already a juggernaut album (“Bad Blood”). While “HUMBLE.” was not exactly pop radio friendly in terms of lyrical content, it was the hip-hop equivalent of arena rock, an anthem of seismic proportion that was destined to live forever as a stadium beat. “Not Like Us” is a song in which the lead performer cracks jokes about one of the two or three biggest pop stars in the world being a sex predator, and it became arguably the song (and inarguably the hip-hop song) of Summer 2024.
But if you view the rivalry strictly as a narrative structure around which artists build their discographies, Kendrick winning does not inherently mean that Drake lost. The Beatles and the Rolling Stones, for instance, were significant inspirations for one another—the Beatles’ songwriting was a driving force for the Rolling Stones to evolve beyond the covers of American blues songs which filled their initial sets, while the more streetwise image and raw sound of the Rolling Stones served as a template of sorts for much of the Beatles’ post-Sgt. Pepper’s Lonely Hearts Club Band work, an evolution which allowed the band to avoid succumbing to self-parody. And Drake’s response to “Euphoria”, “Family Matters”, was one of the best pure demonstrations of Drake’s talents of his career—his flow is impeccable and the barbs at Kendrick are pointed. Drake, unfortunately, followed this up with his “Not Like Us” response “The Heart Part 6” (not to be confused with Kendrick Lamar’s “Heart Pt. 6”, which is great), easily the weakest of the duo’s back-and-forth, but this song was also largely forgotten. “Not Like Us” wasn’t, but the song arguably became too successful to continue to exist primarily as a referendum on Drake. Calling “Not Like Us” a Drake diss track is like calling “Sweet Home Alabama” a Neil Young diss track: like, it is, but it has taken on a life of its own far beyond these origins.
Kendrick Lamar keeps winning in ways that are mostly independent of Drake, who remains exceptionally famous and popular, one of the few artists in the world who is indeed more popular than Kendrick. His livestreamed concert “The Pop Out: Ken & Friends”, though undeniably linked to his broader cultural moment, was a cultural phenomenon. He was announced as the halftime performer at this year’s Super Bowl, just three years after he was a relatively minor part of the game’s LA-centric hip hop ensemble. And last Friday, he released GNX, his widely-hailed sixth studio album which combines the consistency of Good Kid, M.A.A.D City and the sheer force of Damn. Although various tracks off GNX have been interpreted as Drake references, none of the references are specific. One could make the case that the album is either the finale of the Drake-Kendrick beef or perhaps the first major work by either artist to follow it.
But Drake isn’t moving on. And while all logic indicates that Drake, a man that even his many detractors will openly admit is a technically hyper-gifted emcee, should simply release a pop-rap smash that he seems to churn out with ease, he has instead responded in what has to be the least endearing way possible—he called the cops. Drake has filed two lawsuits against Universal Music Group over “Not Like Us”, claiming both a payola-like scheme to inflate Kendrick Lamar’s streaming numbers and that the song defames Drake by accusing him of pedophilia.
The former claim seems patently absurd, though it makes some level of sense in the context of who Drake is. While Drake has been acclaimed throughout his career, very few who are passionate about such debates have claimed that he is an inner-circle, all-time great rapper, but one thing that he undisputably has on pretty much any artist ever is immense popularity. Drake is a massive hitmaker by any objective measure, and while any analysis declaring “Not Like Us” a knockout blow for Kendrick is inherently subjective, if consensus, what must truly be appalling for Drake is what a huge pop hit it became. Because that is the arena in which Drake plays the game. Of course, the problem is that it wasn’t as though Kendrick Lamar, an extremely popular artist by the standard of anyone that is not Drake already, having a huge hit is some big surprise. There is a reason that “Meet the Grahams” wasn’t a pop smash while “Not Like Us” was, and I’m not sure that I can even articulate it, but it’s there—it’s the same factors that make ABBA more popular than Primus. It is self-evident.
In terms of Drake’s claims to defamation, he has more of a point in this case. But in the realm in which he exists, bringing it to court is confounding. Drake, on “Family Matters”, accused Kendrick of domestic abuse and claimed that his child wasn’t biologically his, two claims which have no more merit as true than any claims Kendrick had made. But what will truly destroy Drake’s credibility is simply that bringing the law into the feud comes across as the move of a giant dork. Drake has been accused of being soft throughout his entire career, but for the most part, he has been immune to these criticisms in the court of public opinion because he never claimed to be some sort of hardcore gangster. His perceived sensitivity and emotional side is part of his appeal. But while Drake was never meant to be edgy, he was also never meant to be a loser. And it’s not as though a rap battle, even one with a clear victor, is meant to destroy the credibility of the other party. Biggie and Tupac both enjoy sterling reputations, even among those with a strong preference to the other; Jay-Z and Nas had a long-standing feud that has ended with both considered giants.
It should be okay that Drake lost a battle. He can go back in the studio, make some party anthems and sonically pristine love songs, and remain a superstar. That was always an option, and it probably remains one. But by getting into the legal system, Drake is risking something more devastating than losing a battle. He is risking losing a war.