Playboi Carti’s “I Am Music” Review: Was the 5-Year Wait Worth It?

I’ve been a Carti fan since high school when he was still a part of Awful Records. I actually remember the day it was announced that A$AP Rocky co-signed him. Years later, Carti has become more mysterious and ambiguous, with fans fiending for his releases since they’ve been so sparse. 5- years after his Whole Lotta Red Release today, I’ll take my second listen to his album, I Am Music, and my first full listen detailing my thoughts on this 30-track album that took five years to release.

Pop Out

The first track on I Am Music opens with chaotic heavy bass and Carti’s repetitive, lethargic style slurring the phrases “Pop Out” and “Bye Bye.” For an intro to a 30-track album, it feels heavy but incomplete, with only one verse cornered between two hooks.

4/10

Crush

Starts with a tech horn and orchestral singing in the background, which is unexpected for Carti. I actually appreciate the vibe of this song. Out of nowhere, we hear Travis Scott’s ad-lib “STRAIGHT UP” and Wake Up F1lthy’s producer tag. Other than that, there’s a short verse by Carti and no verse by Travis Scott. This song feels incomplete—maybe Travis worked on the production. However, Travis Scott isn’t Playboi Carti, and I don’t want to hear a Travis ad-lib without a Travis verse.

2/10

KPOP

“She fucking with a dime,” this song reminds me of the Whole Lotta Red days. It has a comprehensive verse and no hook. The beat is good, but by the time you start to enjoy the song, it’s already over.

4/10

Evil Jordan

“Evil Jordan” has been out for over a year, it seems. This song slaps and belongs on the album with its dark synths. If anything, this should’ve been the opening track. Carti fans would’ve appreciated the “I AM THE MUSIC” shoutout as the lead track. This song has no hook, but the visuals complement the vibe.

5/10

MOJO JOJO

Heavy bass and a feature from Kendrick Lamar—this song actually sends shivers down your spine. Ad-libs are properly placed. I don’t know if the song needed Kendrick, but that might just be my personal bias. My favorite song by Kendrick is “Sing About Me, I’m Dying of Thirst.” However, again, by the time you start to enjoy the song, it’s done. I get that consumer attention spans are short, but damn—let me enjoy the song.

8/10

Philly

The guitar reminds me of the Midwest. It starts off with a Travis verse, which includes a reused line from Carti (“bend over, touch your toes”). This song should’ve been a rager, but Travis starts singing toward Carti’s introduction. Travis holds the hook, but honestly, since the song is so short, I would’ve preferred if it ended after Carti’s reverb. It wouldn’t have changed the album’s feel.

5/10

Radar

Metro made a beat that sounds like a free YouTube beat. There are multiple producer tags and ad-libs, which is Carti’s style, but I’d prefer Carti to deliver the ad-libs rather than Swamp Izzo. This song ends with the reverb, as I suggested for “Philly.” It had a good ending, but overall it’s a throw away.

3/10

Rather Lie

Another Weeknd feature. The beat is actually great, and Carti’s intro is hard. I could listen to this again. The Weeknd and Carti make great songs together—I’d love to hear a collaborative album between the two. “Rather Lie” feels like genuine effort went into it (“I’D RATHER LIE THAN TO LOSE YOU, GIRL!”). This song feels complete.

8/10

Fine Shit

Two verses—melodic and gothic. For a 1:47-minute song, it’s tasteful. You need to listen to it yourself for the vibes.

7/10

BACKD00R

With such an interesting title referencing the act of being “backdoored,” but it seems to hint at having a woman come through the back door—a fairly ambiguous song. Featuring Kendrick Lamar, this feels designed for the current climate of Carti’s career and his newer fans who begged for the album. Not my style, but I can see how people might like it.

5/10

TOXIC

Finally, a real Carti song! My face lit up when I heard the verses. Heavy bass, a great hook, and not too ad-lib-heavy. Skepta’s flow belonged here. Although short, by the end, I rewound it back to the beginning, and it was worth it. I could see this played at a concert, club, or blasting from speakers in a car.

10/10

MUNYUN

Hoarse-voiced Carti, bass-heavy. Nothing much to say. I just wish Carti continued with his own ad-libs instead of Swamp Izzo.

3/10

CRANK

This is the type of song you can fist pump to. Verses are generic, repeatedly mentioning his “opps.” Could this reference Benji Blue Bills’ recent rise? The song wasn’t worth the listen.

2/10

CHARGE DEM HOES A FEE

Slowed down, reminiscent of a chopped-and-screwed Future song, with large gaps of space where the beat plays out. This feels like a late-night, drug-induced song—the repetitive nature is symbolic of the Carti ambiance. Travis’ verse extended the length unnecessarily. Still good, though.

8/10

GOOD CREDIT

Opens with meme audio, but the mix is dog-water quality, as if recorded with a Blue Mic in a closet. Most underwhelming song on the album, though Kendrick’s verse was nice. I don’t know if I agree Carti is Lamar’s “evil twin,” but sure.

6/10

I SEEEEE YOU BABY BOI

By this point, I’m tired of the album. Verse-only, baby-voice Carti. Should’ve been scrapped. Reminds me of “Control,” but couldn’t compare.

2/10

Wake Up F1lthy

Bored by now. Good song, but Travis ruined it with his “straight up” ad-lib. I’d prefer a Carti ad-lib. Many may disagree, but I wouldn’t relisten.

1/10

Jumpin

Old song? Lil Uzi references “Pink Tape.” No Carti verse, only Uzi. Feels like an Uzi song—I’m confused about the placement and can’t even rate it.

TRIM

Track 19—Future opens with a fast-paced verse, picking up the tone. Feels like a Future song featuring Carti. Good track, but ambiguous whose song it is.

7/10 if it’s Carti’s, 9/10 if it’s Future’s.

COCAINE NOSE

Heavy metal guitars. Should’ve appeared earlier. A banger; worth the wait. by this point we are at track 20 and I like the song but it feels so late in the album for such a banger. This is a thrasher, punch a nazi type song. Worth the wait. I just wish it was longer.

9/10

WE NEED ALL DA VIBES

Young Thug brings the vibes—I wish his verse was longer. Honestly, the second half of the album surpasses the first half. I’m listening to Young Thug’s Tiny Desk afterward.

9/10

Olympian

Heavy 808s—I can’t hate on this song; it’s actually really good. It takes me back to the “In Abundance” Carti days and is definitely worth the listen. He even references his earlier era; a great nostalgic track.

9/10

OPM BABI

OPM Is short for opium this song is a chaotic mindfuck, I its all over the place halfway through it I almost skipped it until I heard Young Thug. The song clears up half way through but  the beginning was almost unbearable. Its short, maybe the song just depends on the environment which its played. 

2/10

TWIN TRIM

The song is well-mixed, but it takes about 40 seconds for Lil Uzi to appear. I could accept this if the song was longer, but this is the second song featuring only Uzi. Still enjoyable, this song reinforces Uzi’s presence on the album. Good overall but doesn’t feel entirely like a Carti song.

9/10

Like WEEZY

10/10 enough said, just listen to it. Carti pulled through on this song. Banger, no features needed production is worth the listen. Probably my second favorite song on the album.

10/10

DIS 1 GOT IT

This track stands out clearly on the album. Carti delivers exactly what fans have been craving—no unnecessary features, just pure Carti energy. Carti knew this song would do well—hence the title. Why didn’t the rest of the album have this vibe? Sheesh, this song is good. No features needed; the production alone is worth a listen. Probably my second favorite song on the album. Short but exceptional.

10/10

WALK

Glad I continued—this track maintains momentum. Great vibe, proving quality trumps song length.

10/10

HBA

We’ve all heard this song before, but the beat has a different intro now. It would be unfair to compare directly, but the new production changes the vibe slightly. It’s good—really good—and brings a fresh energy.

OVERLY

Track 29—a rollercoaster journey. One of the album’s least played, yet it’s spacious and filled with signature ad-libs. Exactly what day-one Carti fans wanted.

9/10

South Atlanta Baby

The final song. Honestly, I’m moved by this track—it’s beautifully crafted, short, and makes for a great closing. Carti ends on a strong note, proving he knows how to create emotional depth. 10/10

That’s it—I AM MUSIC. Some may argue Playboi Carti over-delivered with this album, placing many experimental tracks in front of his fans and making himself extra vulnerable. To be honest, this might be his most vulnerable work yet. It pushes Carti outside the box most listeners place him in.

Overall, I’d rate the album a solid 7/10, but in the future, I can see my opinion shifting to an 8, maybe even an 8.5/10. After a five-year wait, it leaves fans with very high expectations. The album challenges perceptions, and while initially mixed, it might just age into a classic over time. This album definitely showcases a more vulnerable side of Carti and expands the limits of his sound or lack of sound.