Jack White Can Barely Find the Words for That 22-Foot Golden Trump Statue

In an interview posted on his YouTube account prior to the release of his seventh album, The Gentlemen’s Club, YG recalled a conversation he had with Kendrick Lamar about the importance of quality control. “I’m telling him about what I was doing, like putting out albums just to get out the deal ’cause my deal [with Def Jam] was fucked up,” he told his interviewer, DJ Hed (YG is now signed with 10K Projects through his 4Hunnid imprint). “[Kendrick] was like, ‘Bro, you ain’t never supposed to do that. You gotta give it your all every time.’”

Indeed, The Gentlemen’s Club signals a renewed focus on building narratives with his distinctively aggressive Bompton persona. It evokes his famed run from over a decade ago, when the rapper rose to stardom with 2014’s My Krazy Life and 2016’s Still Brazy by revitalizing the kind of street-conscious perspectives that the West Coast has long produced, from Ice Cube to the late Nipsey Hussle (who co-starred with YG on his deathless anti-Trump anthem “FDT”). But YG hasn’t scored a major Billboard hit since 2018’s “Big Bank.” His music in recent years has been typified by high-carb, low-nutrition radio bait like “Go Loko,” a bizarre number where he and Tyga shuffle along with Speedy Gonzales-styled accents, and “Toxic,” which lifts Mary J. Blige’s “Be Happy” nearly wholesale. (To be fair, his 2019 “Slide” collaboration with H.E.R. is romantic and enchanting.) In 2025, YG signaled a return to less irrelevant work with “2004,” a startling confession where he reveals he was sexually assaulted at 14 by a woman older than him. “Ever since that day, I’ve never looked at shit the same,” he rapped. Yet the stakes around his career can’t help but feel lower now.