Please Tyler Don't Hurt 'Em

With his new dance-inspired LP, the Odd Future founder proves his rap peers can't touch him.

Author

Jayson Rodriguez
August 06, 2025

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Welcome to the 59th issue of Backseat Freestyle. This is my weekly hip-hop newsletter I send out every Friday(ish) featuring a deep dive analysis on one big thing that happened over the past seven days. I also include a roundup of links to what I’ve been listening to, reading and watching. You can check out the archive, here, and read more about me, here. If you’re already a BF subscriber, thank you for your continued support. If you’re arriving to this issue by way of a forward, LinkedIn or social media, please subscribe below. And please share this newsletter with your circle so that they can enjoy it; personal referrals go a long way toward my goals for growth. With that said, let’s get into it….

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Front Seat

This is what’s driving hip-hop this week….

TYLER, THE CREATOR isn’t easy to pin down in just about anything he does in his life. There’s a fluency that serves as a current to all that he does. It’s why he’s been able to swing from sound to sound, platform to platform, idea to idea and still retain verisimilitude throughout his works. That ability has come to define him more and more as he’s gotten older. He’s less the boy wonder of yore, figuring his way through the labyrinth of hip-hop. Now, he’s fully formed in his artistic pursuits, which he’s paired with a shrewdness to his approach. He’s presented Don’t Tape The Glass as a dance album, but while his fans bop along, it’s just another (two)-step for Tyler on his way to rap dominance.

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Back Seat

Respect my mind or die from lead shower.

IN AN INSTAGRAM POST ahead of the release of Don’t Tap The Glass, Tyler, The Creator revealed the inspiration for his surprise album was a simple question he posed to some of his friends: why don't they dance in public? The responses, he learned, had to do with their fear of being filmed and, he surmised, of their becoming a meme as a result of being recorded. Thus, in a contrarian twist, we were gifted a dance project, which features upbeat sounds imported from, among other places, New Orleans (the title track), London (“I’ll Take Care of You”) and, of course, his native Los Angeles (“Sucka Free”). During his appearance on Hot 97’s Ebro In The Morning, however, Tyler went deeper behind his motivation for the collection. He spoke about not wanting the desire for perfection to generate blockades, which would then impose obstacles to impede the release of new material. (He referenced Dr. Dre’s long gestating Detox as an example.) His last album, Chromakopia, suffered this fate, he explained; to wit, it resulted in a three-year wait from its predecessor, an added year from his usual tendency to drop an album every two years. 

For Don't Tap The Glass, almost on impulse, Tyler allowed himself a freedom in creation, across only a few weeks, in order to give fans “a natural form of expression and a certain connection they have with music” as he wrote on IG.

It’s another pivot for the former Odd Future front man as his discography is increasingly becoming more varied than a spice rack. 

His range is both a catalyst and a flex. 

In 2024, I wrote as part of my Hip-Hop Awards Season that Tyler is “the most dynamic force in hip-hop right now.”

Re-reading it today, it almost feels limiting. As if I was otherizing Tyler and, by extension, his work, as something different than what his peers were producing by labeling him dynamic. The intent was to be complimentary of his talents, but the fact of the matter is he’s simply the best, full-stop.  

Here’s why. Kendrick, J.Cole and Drake are playing a waning game of lyrical miracle; I’ve said it often here in Backseat Freestyle that we’re in the vibe era—where the value of bars is depressed compared to past eras (think your 401K and the economy compared to your parent’s pension plan); we may even be past the vibe era considering Playboi Carti’s MUSIC. And while Travis Scott just bangs on the drums as loud as he can and Cardi B’s sophomore album suffers more delays than NJ Transit, Tyler has been able to straddle the past and present by offsetting moods and themes on each of his albums with just the right combination (and curiosity) of rap and other genres.

For all of his otherworldly talents, Drake struggles to find the correct balance; it has less to do with skill and more to do with reading the room (a subject for another essay).

In short, Tyler knows how to manage a vibe shift. 

It goes without saying, he’s a creature/creation of Al Gore’s internet. So surely, Tyler saw the viral post (apologies, I can’t find it) and subsequent conversation after a DJ said he couldn’t play any hip-hop from the past five years or no one will dance. The post provided validation for the old man on the porch crowd. 

But it’s a more complicated conversation, which Carl Chery addressed on his new Substack in a post titled 5 Reasons Parties Aren’t Fun Anymore, which included reasons such as the lack of monoculture and the aftereffects of isolating due to Covid-19.  

Naturally, one could argue that new music sucks. It’s more likely, though, that in addition to generations seeking their own thing, the sounds are different because of technology and smart phones. There's never been an easier time for audiences to find their favorite artists and the path for young artists to find their audience is easier, (BIG) if they can manage to crack the code. So because of that, there’s less of an incentive for the big, crowd pleasing hit (typically featuring an R&B singer on the chorus; the formula, as Carl once referred to it) and instead, in my opinion, you get a rapper who likely records themselves in their home studio (or a boutique one) and produces material that’s autobiographical/deeply personal like Ray Vaughn’s standout, The Good The Bad The Dollar Menu. That type of material moves Twitter fingers more than feet. 

Which brings me back to Tyer, as much of a businessman and social observer disrupter as an artist. Like Goodie Mob back in ‘98, he saw they don’t dance no mo’. Whereas the Atlanta collective lamented this notion in each of their verses, Tyler chose to take action. 

He’s not an upstart anymore, but he’s hardly a veteran. Recognizing his position in comparison to the younger class and the class before him, Tyler zagged instead of zigged. In other words, he’s keeping us on our toes. 

Trunk (Music)

Music, news, reads, podcasts and videos that I’m checking for this week.

Super producer Metro Boomin’s latest, A Futuristic Summa, is perhaps mistitled. With prominent features from Travis Porter, Young Dro and Roscoe Dash, among others, this two-disc set is more anchored in the last 15 years of Atlanta’s ongoing reign. “They Wanna Have Fun,” “Issa Party” and “I Like That” will ring out at any park jam in the A or elsewhere.. [Listen]

She started with a spark and then endured some blowback but in the last year and change Saweetie has been automatic, including some bops on her new EP, Hella Pressure, including “Pressure” and “Twinzz.” (She’s got a knack for samples.) [Listen] Related: RollingStone caught up to the Bay Area rapper while she was overseas promoting her latest project and she’s introspective about her young journey. [Read]

After all that, if you haven’t already, check out Tyler, The Creator’s Don’t Tap The Glass. [Listen]

Earlier this year, I had William Ketchum on my Backseat Freestyle Podcast to talk about Joey Bada$$ v. The West and he delivered a quality take on the stakes of that battle, despite it being largely manufactured: quality rapping is stakes enough. On one hand, I wholeheartedly agree; I was all in on every record by Ray Vaughn, Joey, etc. However, this UK vs US battle, between Skepta (“Friendly Fire”/ “Round 2”/ “Junior’s Law”) and Joyner Lucas (“Nobody Cares”/ “Round 2 K.O.”) isn’t moving me as much, despite my previously having written the UK has finally succeeded stateside. What say you? [Listen]

Yeat has become an iconoclast with his frenzied compositions and his scattershot public appearances; his latest, Dangerous Summer, is a more of the same…although, one track in particular, “Fly Nite,” featuring FKA twigs, is bit of a departure for the California rapper, less opaque than his previous material. A sign of his next wave? [Listen]

After a first listen, Alfredo 2 isn’t as innovative as its predecessor; it’s still plenty ambitious as a project, though, what with its mini-movie starring Freddie Gibbs and The Alchemist. [Listen] Related: My standout pick on the album, “A Thousand Mountains,” has a video excerpted from the movie. [Watch]

Che Noir taps 38 Spesh for “Smooth Jazz,” a quality knock, from her forthcoming No Validation LP. [Listen]

Joey Bada$$ wants off of Columbia. Meanwhile, over at Atlantic Records, Marsha St. Hubert, Rayna Bass and Lanre Gaba were promoted, among other moves. [Info] [Info] [Info]

The Tiny Desk concert series isn’t going anywhere amid partisan fuckery that’s snacking back Corporation For Public Broadcasting funding, which will affect NPR and PBS. [Info]

From RollingStone’s Andre Gee: “These New Bills Aim To Prevent Rap Lyrics From Being Used In Court Nationwide.” [Read]

I forgot to post this British Vogue cover story by Jazmin Hughes on Doechii, but considering she just announced a new tour, the timing is on my side. [Read] [Info]

This is a fun list to consume, but the execution of it didn’t hold up to past years, if you ask me. Complex’s Hip-Hop Media Power Rankings rightfully crown Kai Cenat numero uno, but some inclusions are puzzling and the lack of grouping is hard to understand (why not put Envy with CTG [and bump them up]? And either Rosenberg and Laura with Ebro, or Ebro with Nadeska? And where’s Ray Daniels or the platform curators ala Colors, Live From The Front Porch or On The Radar? Also, Shannon Sharpe made the cut?! FOH.) [Read]

It’s still a new operation that’s better in clips that are non-sequitar than full episodes (so it was OD for the Fat Joe and Jadakiss–my guys!–to be ranked on Complex’s list) but the Joe and Jada Podcast nailed their chat with Jermaine Dupri. [Listen]

I wonder what would things be like for Drake if he didn’t release his PND collab project earlier this year and instead waited to start the Iceman streaming episodes on the last day of July—with “Nokia” arriving August 1st. I say this because, clearly, he’s all on in streaming and it’s a fascinating approach for a star of his ilk to take: pivoting toward a new content type as a refuge from mainstream media and hip-hop media…both as a guest and a participant. He’s hardly the first superstar to transform his relationship with the press, though none previously to this extent in terms of execution. Remove the noise post battle and in isolation would the reaction to his approach be impressive or one that’s critical? I think the former, with a touch of the latter. Right now, it feels like a distant curiosity; though the views have grown from episode 1 to episode 2 where he premiered “Which One?” [Watch] Related: [Read]

Lil Yachty has been on a good run in 2025, mixing in his woozy stylings and his Michigan-era raps, from features to loosies, including this one: “i need meds.” [Watch]

Speaking of runs, Kodak Black has heated up the past two months exclusively on YouTube and SoundCloud. Is he angling to get off Atlantic? “Get Me Some Money” and “I wish I knew to go to Michigan” are both quality releases. [Watch] [Watch] 

It’s not a groundbreaking visual, but seeing YoungBoy Never Broke Again out in the world again—as opposed to home confinement—on “Wine & Dine” makes for a compelling view.  [Watch] The track is from his new album, MASA. [Listen]

A few years ago, I first met Evidence when he was a guest on Live at Vevo, a performance and interview show I hosted. He showed a lot of heart, particularly in our conversation. His latest, “Rain Every Season,” from Unlearning, Vol. 2, is a continuation of his earnest solo material. [Watch]

It’s not always easy to navigate as a graying rapper; trying to find an artistic sensibility that’s familiar to old fans but not stale to new ones. Juvenile doesn’t have that problem on his latest, “Hotboy Summer.” The title is winking acknowledgement to Megan Thee Stallion in name, though it's truly a nod to the early Cash Money years in spirit—and with its breezy Debarge sample and contributions from Trombone Shorty, B.G. and Jacquees it's a full-on family affair. [Watch]

This video has a lot of heart: will.i.am and Taboo of the Black Eyed Peas tag-team on “East LA,” an homage to their ‘hood and a rallying cry against the ICE deportations taking place in Los Angeles. [Watch] Related: the pair flew to New York to talk to The Breakfast Club for a smart conversation about LA, Mexican culture and government malfeasance. [Watch]

Backseat Freestyle is written and produced by me, Jayson Rodriguez, impartially and independently via my company, Smarty Art. If you have any comments, feedback or questions, feel free to email me: [email protected]. If you would like to discuss sponsoring an issue of the newsletter, contact: [email protected] and check out the rates, here. And follow me elsewhere:

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