Denzel Curry’s ZUU is a thirteen-track mission statement, and it arrives with the confidence of an artist who knows exactly what he wants to prove. Released in 2019, the album is a banger-filled tribute to his hometown of Miami, drawing on local rap history and culture to build a record that sounds both personal and universal. It is a fiery, efficient collection of trunk-knocking trap anthems that are begging to be played at a high volume all summer long.
The record runs just 29 minutes, and it wastes none of them.
Opening With a Statement
The album starts with “ZUU” itself, a 2:06 burst of energy that sets the tone immediately. It is short, sharp, and built to grab attention. “RICKY” follows at 2:28, a track that leans into the local scene Curry has been building throughout his career. “WISH” stretches to 3:12 and slows the pace slightly, letting the production breathe while the delivery stays locked in.
“BIRDZ” runs 3:24 and picks the tempo back up, a track that critics singled out for its urgency and its connection to the city’s streets. “AUTOMATIC” keeps the momentum at 3:03, a steady pulse that holds the middle of the record together. Then comes “SPEEDBOAT,” the longest track on the album at 3:43, which builds its tension slowly before releasing it.
The Interlude and Its Partner
“BUSHY B INTERLUDE” is a brief detour at 1:06, a pause rather than a full song. It does not need to be lingered over. “YOO” is even shorter, a 1:04 interstitial that bridges the gap between the album’s first half and its second. “CAROLMART” picks things back up at 2:44, a track that critics noted for its directness and its willingness to confront the reality of the city’s hoods.
“It’s not just that. We got hoods too.”
That line, from Curry himself, captures the spirit of the album’s second half. “SHAKE 88” runs 2:28 and keeps the energy high. “BLACKLAND 66.6” is the shortest track on the record at 0:49, a quick burst that does not overstay its welcome. Then comes “P.A.T.,” the album’s closer at 3:00, a track that critics singled out for its raw emotion and its willingness to confront the darker side of the city’s culture.
What Works and What Doesn’t
Not every track earns its spot. The interludes — “BUSHY B INTERLUDE” and “YOO” — are pleasant but thin, filler that pads the running time without adding much substance. “CAROLMART” and “SHAKE 88” are solid but unremarkable, competent entries in a genre full of them. “BLACKLAND 66.6” is a flash of energy that is over before it lands.
The tracks that matter are the ones that lean into the city’s identity. “BIRDZ,” “AUTOMATIC,” “SPEEDBOAT,” and “P.A.T.” are the heart of the record, the moments where Curry’s connection to Miami is clearest. The shorter tracks — the interludes and the brief closer — feel like placeholders rather than contributions.
The Verdict
ZUU is a strong, focused record from an artist at the height of his powers. It does not reinvent trap music, but it does not need to. What it does do — capture the sound and the spirit of Miami with precision and energy — it does with remarkable consistency.
The album’s best moments are its most direct ones, the tracks that refuse to soften their edges or smooth out their rough spots. Curry is at his best when he is honest about where he comes from and what it means to him.
This is a record that rewards attention but does not demand patience. It is short, loud, and unapologetic. It is also, by and large, very good.
8.5 of 10.
- ZUU2:06
- RICKY2:28
- WISH3:12
- BIRDZ3:24
- AUTOMATIC3:03
- SPEEDBOAT3:43
- BUSHY B INTERLUDE1:06
- YOO1:04
- CAROLMART2:44
- SHAKE 882:28
- BLACKLAND 66.60:49
- P.A.T.3:00
