The Internet erupted last week when Top Dawg Entertainment’s president Punch asked who, out of the new generation of rappers, could be considered a superstar. “It might be over for the superstar. Nothing is sustainable,” he tweeted, creating a frenzy for Gen. Z rap fans. “Is oversaturation the death of the superstar?” A few promising names came out of his comments, though. Among them were Lil Baby, and Doja Cat, who both have skyrocketed to fame over the past few years, but there was one name that was evidently missing.
Despite the string of controversies and legal matters that frequently impeded his professional growth, Kodak Black has a staying power that he’s shown in the near-decade since the success of “No Flockin.” In that time, he’s had many brushes with cancel culture – being unapologetically himself on and off-wax. But the quality of the music he continues to release has transformed him into a pivotal voice in the current soundscape of rap. It’s not widely acknowledged, and Yak’s frequent social media outbursts regarding the credit he’s due often deters from the actual point he’s trying to get across. However, it’s something that can’t really be denied if you’ve paid attention.
The title of his fourth studio album, Back For Everything, summarizes his mission statement since his release from prison in 2021 – reclaiming what’s his. A new crop of artists emerged in his absence, many of which he directly influenced. His stints behind the wall following the release of Dying To Live killed the momentum that began to showcase his maturity, growth, and more importantly, his depth as an artist. His ability to tap into his emotions with a wider lens of self-awareness, mixed with equal parts doubts and resilience. Yak’s pain turned him into a generational voice – a mumbling one, mind you, but a voice nonetheless that spoke to the Project Babies across America.
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There’s the influence that comes with stardom, too, even if it’s not widely recognized by the award shows. And the complexity of the relationships he’s formed both before and after the fame evidently weighs on him on the album’s intro, “Let Me Know.” The betrayal of friends and comrades as he faces mounting legal issues to the lack of recognition when it comes to his influence and talent. He opines that the VMA’s misfired when Khalid was awarded Best New Artist in 2017 instead of him. However, he finds solace knowing that his influence has reached beyond the confines of Broward County; to the top of the charts with Cardi B’s breakout hit, “Bodak Yellow” – a victory that represents a bigger win for those who’ve faced the same adversity that he’s dealt with. “I do it for the real n***as ‘cause I won, too,” he raps over enchanting flutes. “The fact I made it out the shit that they be goin’ through/ Make ‘em feel like if I win then they won, too,” he continues with a keen sense of self-awareness.
The grievances weigh on him but confronting those issues early on in the project creates room for Yak’s determination and motivational tones to seep through. The spacey, futuristic production of Buddha Bless on the title track brings Yak to a fork in the road where he acknowledges his blessings and flirts further with the idea of returning to his former self. “Why you steady schemin’? Boy, you rich now,” he asks rhetorically. “‘Cause I fell in love with hittin’ licks,” he responds unflinchingly. He explores the complex dichotomy of this line even further on “He Love The Streets,” offering one of the most vulnerable moments on the project. Boi-1da, Vinylz, Lee Major, and Sean Momberger’s ominous production offers a moment of self-realization for Kodak. It’s a sobering moment on the 19-song project where he stares down a path of self-destruction paved by his decisions. “Tryna get up out this mindset, it’s like I’m chained by it/ Gotta switch up all this shit before they get me,” he raps, acknowledging fame has only put a bigger target on his back.
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There are many sides of Kodak Black artistry, some of which we’ve yet to see in full. However, Back For Everything remains a comprehensive look at an all-too complex figure in the current soundscape of rap. He’s remained as rooted in the street-centric styles as he was eight years ago but his maturity comes out as he describes personal life goals for the future, whether it’s creating generational wealth and raising his kids, or finally settling down.
In the last year, Yak’s unveiled upwards of four projects in total, including Sniper Gang Presents Syko Bob and Snapkatt: Nightmare Babies and Before The Album, which boasted several songs featured on his latest album. However, Back For Everything truly feels like the comeback project fans have waited on. “Super Gremlin” is on pace to be a definitive 2022 banger, even though it dropped last fall. Songs like “War & Love” and “Sink My Ship” are obvious singles with the potential to dominate the radio circuit. His personal decisions and controversies have prevented many from embracing him as one of this generation’s bonafide stars, but Back For Everything proves that he isn’t defined by his shortcomings.