Drake’s ‘HABIBTI’ Is a Moody Course Correction Undone by Uninspired Writing

Drake’s new album, HABIBTI, is a deliberate pivot. The 36-minute, 11-track record leans into moody, late-night R&B. It is a smaller, quieter project, one that sounds less like a bid for the top of the charts and more like an attempt to reset the conversation around his artistry. The intent is clear: strip back the bravado, slow the tempos, and let the melodies breathe.

The execution is uneven. HABIBTI is a record of loose, woozy textures and half-formed ideas. It is an aesthetic course correction that works best when Drake trusts the vibe, and falls apart when he reaches for punchlines that never land. The result is a mixed bag that will please fans hungry for a return to his R&B roots, but it leaves a nagging sense that the writing has not caught up with the production.

Rusty Intro and WNBA

The record starts with “Rusty Intro,” a 1:02 scene-setter that critics singled out for praise. It is a smart, atmospheric opener, one that promises a more introspective journey than the bombast of his recent output. It sets a tone of vulnerability, even if it is over almost as soon as it begins.

That promise is partially fulfilled on “WNBA,” the second track and the other clear highlight. It is the kind of song Drake does best: a smooth, melodic groove that carries a reflective lyric. The track feels effortless, a reminder that when he stops trying to be clever, he can still float.

Drake’s writing still feels smoothed over and starved of evocative detail.

The Middle Stretch

From there, the record drifts. “Slap The City” and “High Fives” are serviceable but forgettable, never quite finding a hook strong enough to justify their runtime. “Hurrr Nor Thurr” is more of the same, a track that leans on the album’s laid-back aesthetic without adding much new to it. These three tracks blur together, a stretch of mid-tempo filler that tests the listener’s patience.

“I’m Spent” is a brief palate cleanser. At 2:25, it is one of the shortest songs here, and it knows when to get out of its own way. It is not a standout, but its brevity keeps it from overstaying its welcome. The album needed more of that discipline.

Classic and Gen 5

“Classic” is a title that promises more than the song delivers. It is pleasant enough, but it lacks the spark that would make the name feel earned. “Gen 5” follows a similar path, a competent but uninspired cut that drifts by without leaving a mark. This is where the flat, clichéd writing that dogs the album becomes most apparent. The ideas feel half-baked, smoothed over, and starved of the evocative detail that once made Drake’s verses feel lived-in.

White Bone to the Close

“White Bone” is the longest track on the record at 4:57, and it uses that time to sprawl. It is a mood piece, and for a while, the atmosphere carries it. But it also exposes the central problem of HABIBTI: the production is often more interesting than the words sitting on top of it. “Fortworth” and the closer “Prioritizing” round out the album without shifting its course. They are inoffensive, but they do not rescue the record from its doldrums.

The Writing Problem

The core issue with HABIBTI is the pen. His ideas oscillate between half-baked and colorful, saved by a few spurts of inspiration. There are flashes of the old wit, but they are too sparse. Too often, he settles for a lazy rhyme or a generic sentiment when a sharper observation was within reach.

The music itself is more forgiving. The record is laid back and woozy, a soundscape built for headphones and late nights. The Arts Desk called it “the bedroom album,” noting that the music is relaxed and hazy. It is a fair description. The sonic palette is cohesive, and the Autotune-heavy delivery is consistent throughout. If you have never liked Autotune, this will not change your mind — as one critic put it, by this point, anyone who finds it annoying will have been sectioned.

The Highlights

For all its flaws, HABIBTI is not without merit. The two tracks that critics singled out are worth the price of admission on their own.

• “Rusty Intro” — a tight, atmospheric opener that sets the mood perfectly.
• “WNBA” — the best song here, a smooth and melodic cut that shows what this album could have been.

These two tracks prove that the formula still works. When Drake commits to the vibe and lets the melody lead, he is still capable of making compelling music. The problem is that he does not do it often enough across the 36 minutes.

Final Score

HABIBTI is a course correction that lands somewhere in the middle. It is a credible attempt to shift toward moody R&B, and the production largely succeeds in creating a warm, enveloping atmosphere. But the writing is too uneven to carry the weight. The flattened, uninspired, and clichéd lyrics drag down the record’s best intentions, leaving a project that feels loose and appealing in parts but ultimately forgettable as a whole.

It is an album that will satisfy those who have been asking for a more restrained, melodic Drake. It will frustrate anyone who still believes he can be one of the sharpest writers in the genre. The potential is visible in the margins, but it never fully materializes.

The result is a 5.9 out of 10. A record with a clear vision, a solid mood, and just enough flashes of brilliance to make the misses sting.

album review · Drake · HABIBTI · hip-hop · R&B