It took a considerable amount of time to truly appreciate the artistry of Chick-fil-A. It wasn’t ever about the taste, which is consistently enjoyable, but rather the subtle ingenuity within their limited menu. Chick-fil-A rarely ventures into the realm of unexpected flavors or radical experimentation. However much the company attempts to diversify their offerings, you remain confident that you’ll be presented with a variation of a nugget, strip, sandwich, or wrap. There’s acceptance in this predictability, and satisfaction in the reliable quality because, after all, it’s Chick-fil-A, and those core items are undeniably delicious regardless of how they are arranged.
This realization leads to a somewhat unexpected comparison: Drake is, in many ways, the Chick-fil-A of the rap world. Resist this notion if you will, but as a dominant figure in rap music for over a decade, Drake’s extensive body of work has largely gravitated towards familiar song structures and themes. Regardless of the volume of singles, albums, playlists, or loosies released under the OVO Sound banner, this pattern of consistency has remained unwavering.
Drake’s output is almost always reliably good, often reaching greatness, yet it rarely transcends into the truly groundbreaking territory. Similarly, Chick-fil-A offers a consistently high-quality experience, reliably satisfying, but rarely considered the pinnacle of culinary innovation. Drake, much like this fast-food chain, is the artist we turn to when we seek a dependable, enjoyable experience within a defined comfort zone. We don’t need to stray far from our usual preferences to find something satisfying, and often exceptional.
However, the enduring question remains: which facet of Drake’s musical personality is the most compelling? Despite the vastness of his catalog, each song can be categorized into approximately ten distinct types, each illuminating both his strengths and recurring patterns as an artist.
Before we delve into these categories, it’s important to establish a few parameters:
Note 1: Several projects have been excluded from this analysis due to their collaborative nature (What a Time to Be Alive) or their heavy reliance on freestyles and unoriginal material (Comeback Season, Room for Improvement).
Note 2: This is not an exhaustive list of every Drake song ever recorded. Please refrain from suggesting omissions.
Note 3: Many songs may exhibit characteristics of multiple categories. However, every Drake song can be definitively placed into at least one of these ten classifications.
Note 4: The ranking of these categories is not a judgment of the quality of individual songs within them. It represents an overall assessment of which type of Drake song has been most successful in shaping his career and impact.
10. The Crossover Pop Drake Anthem
Also Known As: The Drake track most likely to be requested by non-hip-hop fans at social gatherings.
One of Drake’s less admirable artistic tendencies emerges when his music sounds as though he is operating on autopilot. Songs within this category often arise from a decision to prioritize broad market appeal over conceptual depth and genuine artistic craftsmanship, leaning into more saccharine and commercially viable approaches.
This isn’t to say that every song in this category lacks merit. Early career tracks like “Best I Ever Had” and “Houstatlantavegas” were foundational, introducing alluring drum patterns and catchy, high-pitched hooks that defined his initial sound. “Fake Love” is anchored by a chorus so meticulously engineered for mass consumption that it feels almost cynically calculated. Tracks such as “Fancy,” “Shut It Down,” “Make Me Proud,” and “Practice” share similar intoxicating qualities with songs found higher on this list.
However, the primary deficiency in many of these songs is a discernible lack of purpose beyond the pursuit of mainstream pop success. Even when they achieve significant popularity, like “Best I Ever Had” or “Fake Love,” they primarily serve as temporary diversions for Drake’s core fanbase, holding them over until more substantive material arrives. Simultaneously, these tracks often provide ammunition for critics, highlighting perceived artistic laziness, predictable lyrics, synthetic concepts, and a sense of superficiality. While commercially successful, these songs sometimes detract from the overall perception of Drake as a serious and innovative artist.
Prime Examples: “Best I Ever Had,” “Little Bit,” “Houstatlantavegas,” “Fancy,” “Make Me Proud,” “Shut It Down,” “Practice,” “Own It,” “Hotline Bling,” “Now & Forever,” “Fake Love”
9. The Radio-Optimized, Formulaic Drake Rap Single
Also Known As: The Drake rap song that feels mass-produced and interchangeable.
Certainties in life include death, taxes, and the recurrence of Drake releasing a rap song for radio play that bears a striking resemblance to his previous radio rap releases. While this trend was more pronounced in the earlier part of his career, Drake’s material, frequently crafted by long-time collaborators Noah “40” Shebib or Boi-1da, often carries a conceptual familiarity across tracks, even when separated by considerable periods.
The Radio-Friendly Drake Rap Single is rarely a complete failure; most songs in this category demonstrate Drake’s lyrical capability and capacity for interesting concepts when he is engaged. The fundamental issue is repetition. Recurring themes of contrasting his past and present circumstances, reflections on the challenges of balancing relationships with a demanding career, and ostentatious displays of wealth and luxury (“finer things porn”) permeate many of these tracks.
Conceptually, tracks like “Over” and “Headlines,” “We’ll Be Fine” and “Still Here,” or “All Me” and “Pop Style” function more like software updates than entirely new creations. Even as Drake has moved away from the more rigid rhyme structures that characterized his pre-Nothing Was the Same era, songs such as “6 God,” “Hype,” “Energy,” and “Sacrifices” illustrate that while he may rearrange his sonic furniture, the fundamental dimensions of his artistic space remain largely unchanged. This category, while consistently listenable, often lacks the innovative spark that could elevate it beyond formulaic radio rap.
Prime Examples: “Unstoppable,” “Uptown,” “Over,” “Up All Night,” “The Motto,” “We’ll Be Fine,” “Underground Kings,” “Headlines,” “All Me,” “6 God,” “Energy,” “Used To,” “Pop Style,” “Still Here,” “Hype,” “Portland,” “Sacrifices,” “Nice For What”
8. The Drake Love Song That Projects Blame
Also Known As: The love song that subtly suggests Drake might not be the ideal romantic partner.
Drake seems to operate under the conviction that he excels in two primary domains: crafting narratives about love and heartbreak, and accumulating wealth. It’s crucial to acknowledge that a significant portion of Drake’s romantic music centers on portraying himself as a self-absorbed, manipulative figure masked in faux concern. In these tracks, Drake often attempts to placate his romantic interest by feigning worry for their well-being, expressing a desire for their best interests, and highlighting their perceived flaws, but invariably, these actions are framed to serve his own romantic agenda.
The public became enamored with the catchy rhythm of “Hotline Bling” without fully grasping that it’s essentially a song where Drake chastises a woman for daring to divert her attention away from him. “How About Now” is a resentful anecdote from a man still harboring bitterness that a girl once preferred listening to Ludacris over his early Degrassi-era raps. Even “Nothings into Somethings” appears to subtly guilt-trip Serena Williams for finding happiness and getting engaged. This recurring pattern in Drake’s music, while not unique within contemporary music, is particularly pointed because it’s often presented with a veneer of sincerity, resonating with genuine emotional vulnerabilities for many listeners while ultimately serving a self-centered narrative.
So, why does this category avoid the lowest ranking? Because, undeniably, these songs possess an addictive quality, particularly when one is inclined towards melancholic introspection or irrational anger. Who can resist the appeal of “Shot For Me” or “Days in the East”? Even if “Ice Melts” revolves around Drake’s need for female validation, even from someone emotionally depleted, the infectious Young Thug hook makes it undeniably enjoyable. This category thrives on the relatable, albeit flawed, aspects of romantic relationships, making them both problematic and perversely enjoyable.
Prime Examples: “Sooner Than Later,” “Little Bit,” “Let’s Call It Off,” “Hotline Bling,” “Find Your Love,” “The Real Her,” “Shot for Me,” “Connect,” “Days in the East,” “How About Now,” “Company,” “Madonna,” “Child’s Play,” “Redemption,” “Ice Melts,” “I’m Upset”
7. The Culturally Borrowing Drake Banger
Also Known As: The song where the vocal inflection is questionable, but the catchiness is undeniable.
For better or worse, Drake has consistently demonstrated an ability to absorb and reinterpret contemporary musical trends in his own distinctive manner. Unlike artists such as Kendrick Lamar, who seamlessly integrates jazz or G-Funk influences into his music to create genuinely novel sonic landscapes, Drake’s explorations into other genres have often blurred the lines between appreciation and appropriation.
In “November 18th,” the use of chopped and screwed vocals and the languid production style, reminiscent of Houston’s signature sound, feels like a precarious balancing act. Drake appears to be simultaneously paying homage to the music he grew up with while also assimilating an established regional sound into his overarching brand identity. This tendency is particularly prominent in his projects from If You’re Reading This It’s Too Late through More Life, where tracks such as “Controlla,” “One Dance,” “Blem,” “KMT,” and even “Hotline Bling” showcase Drake’s engagement with genres ranging from dancehall to UK grime, effectively mining these styles for new musical avenues.
Regardless of the potential ambiguities surrounding Drake’s motivations for adopting these diverse sounds, the ultimate outcome is often commercially and sonically successful. This type of Drake song is almost invariably a guaranteed hit from beginning to end. The continued enjoyment of these tracks, despite potential ethical considerations, stems from a shared human tendency to sometimes prioritize immediate gratification over deeper contextual understanding; sometimes, a simply good song is enough.
When seeking sonic escapism, tracks like “Blem” or “One Dance” offer an island of carefree indulgence, where cultural nuances are blurred, and the primary concern is the infectious rhythm. This category acknowledges the complexities of cultural exchange in music, while also recognizing the undeniable appeal of these genre-bending hits.
Prime Examples: “November 18th,” “Know Yourself,” “Hotline Bling,” “One Dance,” “Controlla,” “Passionfruit,” “Madiba Riddim,” “Blem,” “KMT,” “Gyalchester,” “No Long Talk”
6. The Undervalued, Sample-Rich Drake Deep Cut
Also Known As: The type of song Drake should explore more frequently in his discography.
It’s important to clarify that a Drake deep cut in this context doesn’t necessarily denote a song that lacked commercial success, but rather one whose inherent quality and Drake’s rapping prowess are often overlooked in broader discussions. “Show Me a Good Time,” a standout track from the somewhat uneven Thank Me Later, allows Drake to flex his pop sensibilities while weaving in more intricate melodies than some of the album’s more celebrated singles.
“Tuscan Leather” and “The Ride,” respectively, are arguably the strongest opening and closing tracks from two of Drake’s most critically acclaimed projects. Yet, they are seldom the first songs mentioned when discussing Take Care or Nothing Was the Same. Even standalone releases like “Jodeci” and “Draft Day” feel significant due to the comforting familiarity of hearing Drake rap over samples from artists he clearly admires.
This specific category of Drake song is positioned at No. 6 due to its inconsistent presence within his overall body of work. On If You’re Reading This It’s Too Late, “Legend” stands out as a rare example of this type, while Views and More Life offer “Weston Road Flows” and “Teenage Fever” as further instances. There is a desire for Drake to dedicate an entire project to this style, emphasizing sample-based production and lyrical depth, showcasing a potentially underutilized facet of his artistry.
Prime Examples: “Congratulations,” “Show Me A Good Time,” “Lord Knows,” “The Ride,” “Club Paradise,” “Jodeci,” “Tuscan Leather,” “Legend,” “Draft Day,” “Weston Road Flows,” “Teenage Fever”
5. The Drake Guest Verse
Also Known As: The track where someone else’s hit song becomes indelibly associated with Drake.
This category is not universally consistent; not every Drake feature is memorable, nor does every song featuring Drake attain lasting cultural significance. However, Drake’s ability to contribute his talents to a wide range of rap hits over the past decade—to the point where the song often becomes more strongly identified with his contribution than the original artist—is, with the exception of Kendrick Lamar, unparalleled in hip-hop.
Drawing parallels to Lil Wayne during his prime era, Drake operates as a musical chameleon, seamlessly adapting to the style and sonic environment of his collaborators. His inherent charisma and unwavering confidence consistently elevate his guest appearances. Whether it’s Timbaland’s “Say Something,” The Game’s “100,” Meek Mill’s “R.I.C.O.,” or even BlocBoy JB’s breakout hit “Look Alive,” while Drake’s lyrical perspective remains distinct, the consistent success and memorability of his verses are undeniable.
The Drake Feature typically showcases either his assertive, tough-talking persona or his melodic rapping style. While occasional tracks like “Work” or “Fuckin Problems” deviate from this pattern, the majority of Drake’s features involve him venturing into another artist’s domain and effectively planting the OVO flag, leaving an indelible mark on songs that might not have achieved the same level of recognition without his presence.
Prime Examples: “No Lie,” “Blessings,” “Tuesday,” “Trouble,” “R.I.C.O,” “Stay Schemin,” “No New Friends,” “I’m On One,” “Look Alive,” “My Way (Remix),” “Drama,” “She Will”
4. The Genuinely Introspective Drake Love Ballad
Also Known As: The song that makes you reconsider your judgment and think, “Maybe Drake is a decent guy after all.”
The distinction between self-serving Drake and introspective Drake can sometimes appear subtle, but a clear dividing line exists.
When Drake operates at his peak, his songwriting (and the contributions of his collaborative writers) can achieve an emotional depth that surpasses many of his contemporaries. “Marvin’s Room,” often cited as one of Drake’s best songs, transcends the typical tropes of a selfish breakup anthem by shifting the focus from jealousy and anger to the underlying feelings of desperation and profound loneliness.
In tracks such as “Girls Love Beyonce” and “Jungle,” Drake navigates complex relationship dynamics and lost love with vulnerable and honest reflections. This raw transparency often elicits empathy, even forgiving past lyrical transgressions. Whether through more pop-oriented approaches like “Brand New” or “Hold On, We’re Going Home,” or deeper album cuts like “Fire & Desire” or “Doing It Wrong,” Drake repeatedly returns to themes of love and relationships, consistently finding new and effective ways to explore these emotions. This category highlights Drake’s ability to tap into genuine vulnerability, creating love songs that resonate on a deeper emotional level.
Prime Examples: “Brand New,” “Paris Morton Music,” “Take Care,” “Marvin’s Room,” “Doing It Wrong,” “Girls Love Beyonce,” “From Time,” “Jungle,” “Fire & Desire”
3. The “Drake Can Actually Rap” Showcase
Also Known As: The song used as definitive evidence in arguments asserting Drake’s position as a top-tier rapper.
Periodically, it becomes evident that Drake is acutely aware of social media discourse, the memes, and the subtle criticisms leveled against him. The consistent outcome is his uncanny ability to craft tracks that serve as potent lyrical displays.
These are the songs deployed in online debates to defend Drake’s GOAT status, almost as if he meticulously engineered them for that specific purpose. While it may seem hyperbolic to describe an artist often associated with softer, more emotional tracks as a lyrical powerhouse, songs like “Back To Back,” “Pound Cake,” “0-100,” “Miss Me,” and “Can’t Have Everything” unequivocally demonstrate Drake’s rapping capabilities. He transcends the image of a defensive artist lashing out; instead, he assumes the role of the aggressor, confidently asserting his dominance.
This lyrical flexing is a muscle Drake seems to engage selectively, yet when he does, the impact is undeniable. These tracks possess a world-stopping quality, perhaps even surpassing the categories ranked higher. Drake has always thrived within internet culture, whether facing praise or criticism. Each song in this category feels like a calculated response to online negativity, composed of memorable lines and gossip-fueling disses, capable of instantly shifting public perception. Regardless of external pressures, this type of song consistently serves as his most potent weapon.
Prime Examples: “Miss Me,” “Pound Cake,” “No Tellin,” “10 Bands,” “6 Man,” “Back To Back,” “Charged Up,” “Summer Sixteen,” “Free Smoke,” “Can’t Have Everything,” “Diplomatic Immunity,” “Duppy Freestyle”
2. The High-Energy Drake Anthem
Also Known As: The Drake song with the highest probability of becoming an earworm.
There’s a memorable Seinfeld episode where George Costanza, attempting to reignite a fading relationship, decides to emulate the marketing strategy of Mennen Speed Stick’s jingle, “By Mennen.” He melodically repeats “Co-stanza” to his girlfriend, aiming to make himself unforgettable. The tactic proves surprisingly effective.
Musically, Drake has employed a similar strategy with what can be termed “The Drake Anthem.” More than any other element of his music, Drake’s skill in crafting hooks—and his knack for creating persistent, memorable catchphrases—is a defining aspect of his iconic status in rap. This became a prominent tool in his arsenal with “Started From The Bottom,” and subsequent releases, from the raw energy of “Know Yourself” to the infectious optimism of “God’s Plan,” showcase anthems that are among his most enduring musical contributions.
The captivating aspect of these anthems is their cumulative effect. With each listen, songs like “Worst Behavior” or “Glow” gain momentum, embedding themselves deeper into our subconscious. These anthems become deeply ingrained in pop culture, and resisting their pervasive influence becomes increasingly futile with each play.
Prime Examples: “Started From The Bottom,” “Worst Behavior,” “Know Yourself,” “Trophies,” “We Made It,” “Energy,” “Glow,” “God’s Plan”
1. The Quintessential Reflective Drake Track
Also Known As: The Drake song that resonates with universal relatability.
Despite the diverse expectations placed upon Drake as an artist, the most fundamental desire from his audience is a sense of relatability. This seems like a simple request, but considering his evolving public persona, his artistic fluctuations, and the various song categories outlined, Drake’s most impactful music consistently emerges when he turns his introspective lens inward, offering glimpses into the flawed human being behind the public image.
The effectiveness of this type of song lies in Drake’s consistent willingness to utilize his music as a form of personal therapy. So Far Gone includes introspective tracks like “Successful,” “The Calm,” and “Fear,” while Thank Me Later delves into sentimentality with tracks like “Fireworks,” “The Resistance,” and “Light Up.” Take Care and Nothing Was the Same showcase more refined introspection with “Look What You’ve Done,” “Over My Dead Body,” “Furthest Thing,” and “Too Much,” while later projects explore his familial relationships, notably his bond with his parents (“You & The 6”).
Drake’s reflective music often feels less convoluted than that of Kendrick Lamar or Kanye West, more nuanced than J. Cole’s, and possesses a greater ability to avoid cliché than Big Sean, which contributes to its widespread appeal. This is why his AM/PM series, such as “6pm in New York” or “9am in Dallas,” are consistently well-received, and why “Do Not Disturb” serves as a fitting conclusion to More Life. This category represents Drake at his most human and relatable, solidifying his connection with listeners through shared experiences and vulnerabilities.
Prime Examples: “Successful,” “The Calm,” “Fear,” “Dreams Money Can Buy,” “Karaoke,” “Light Up,” “Over My Dead Body,” “Furthest Thing,” “Too Much,” “Star67,” “You & The 6,” All “time and place” songs, “U With Me?,” “Lose You,” “Do Not Disturb”
