‘We Don’t Trust You’: Future and Metro Boomin address drama in the rap community

By Raveena Rahman, April 23, 2024

Future and Metro Boomin released two albums both intricately linked to each other, bringing shocking revelations within the rap community through heartfelt lyrics and undeniable musical chemistry between the artist and producer.

The album titles “We Don’t Trust you” released March 22 and “We Still Don’t Trust you” released April 12 originated from the famous tagline “If Young Metro don’t trust you, I’m gon’ shoot you,” warbled by Future himself.

The outstanding musical chemistry between rapper Future and producer Metro Boomin portrayed in their widely popular song “Mask Off,” is reflected throughout both new albums. Future’s signature raspy vocals glide effortlessly over Metro Boomin’s heavy bass and dark, gothic melodies.

The album includes concepts of paranoia and mistrust among people in the rap community and hardships that come with street life.

The first album is a blend of hip-hop and rap and features 17 songs and collaborations with popular artists such as The Weeknd, Travis Scott, Playboi Carti, Kendrick Lamar and Rick Ross.

Metro Boomin’s showy beat switch ups, and instrumental touches and Future’s raw voice, heartfelt lyrics and delivery add an emotional aura to the album.

Future is viewed as this generations’ “toxic king,” portraying himself as someone who drinks, takes drugs, and sleeps with a lot of women through his lyrics. However, his lyrics in the two new albums slightly differ from his other music and mostly focus on struggles and drama within the rap community.

Fans speculate some of the songs, especially the first track titled “We Don’t Trust You,” refers to rapper Drake, one of the biggest names in the industry. Subliminal messages throughout the album reflect Future and Metro Boomin’s breakup with Drake.

The lyrics “I don’t hang with rats, that’s some new type s—” from the song “Type S—,” featuring Playboi Carti and Travis Scott, is speculated to be directed toward Drake and shows a clear divide within the rap community as rappers rally behind Future due to his drama with Drake.

In the song titled “Like That,” featuring Kendrick Lamar, who also seems to have fallen out with Drake, Lamar’s line “Motherf— the big three … it’s just big me” caused many to believe it was an insult toward Drake confronting J. Cole’s idea that Lamar, Drake and Cole are modern rap’s “big three.”

Due to popular past hits by Future and Drake such as “Jumpman,” “Life is Good” and a joint album called “What a Time To Be Alive,” most fans are disappointed by the ongoing drama as collaborations between the two were  highly anticipated, and fans can conclude it will not be happening anytime soon.

Following their first full length project, Future and Metro Boomin dropped “We Still Don’t Trust You” with similar themes of paranoia and mistrust among friends. This album also focuses on romantic love and feelings of isolation and self-doubt.

Future reflects on the pressures of fame and success, as well as the challenges of maintaining authenticity in the face of scrutiny.

Notable tracks, such as “This Sunday” and “All To Myself,” delve into themes of love, loss and lust, portraying Future in a vulnerable state, different from what is typically expected of him.

Lyrics such as “Soon as you land, baby, I’mma send a driver” and “You made me wanna live when I felt like dyin’” show a sweeter, romantic version of Future, which makes him more human-like, as he has always been viewed as the romantic anti-hero of this generation because of his past derogatory lyrics toward women.

Featuring artists in the album such as J. Cole, A$AP Rocky, and The Weeknd showcase an unwavering brotherhood bond and subliminally insults Drake, as they emphasize the significance of loyalty.

The Weeknd’s lyrics “They could never diss my brother’ baby” portrays the bond the artists share, and his lyrics “I thank God never signed by life away” is speculated to be a jab at Drake according to fans.

Future still remains a regular playboy with tracks like “Came to the Party,” sticking to his roots of glamourizing the celebrity life, wealth and women he has been with.

The last song “Streets Made Me a King,” delves into themes of activism, as Future speaks on what it is like to grow up in America as a Black man.

The variety of sounds and beats in both albums showcases Metro Boomin’s versatility as a producer, as he effortlessly blends elements of trap, drill and experimental hip hop.

Ultimately, both albums give fans a look into Future and Metro Boomin’s psyche and helps them understand the artists’ views on loyalty, love and street struggles and provides a glimpse into celebrity lifestyles, glamourizing drugs and sex.

Feature image courtesy via Instagram @future and @metroboomin 

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