{"id":41123,"date":"2025-07-16T16:23:48","date_gmt":"2025-07-16T16:23:48","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2025\/07\/16\/travis-scott-hangs-out-with-his-amazing-friends-on-jackboys-2\/"},"modified":"2025-07-16T16:23:48","modified_gmt":"2025-07-16T16:23:48","slug":"travis-scott-hangs-out-with-his-amazing-friends-on-jackboys-2","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2025\/07\/16\/travis-scott-hangs-out-with-his-amazing-friends-on-jackboys-2\/","title":{"rendered":"Travis Scott Hangs Out With His Amazing Friends on &#8216;Jackboys 2&#8217;"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cYeah, man, I swear these old niggas kill me,\u201d raps <a href=\"https:\/\/www.rollingstone.com\/t\/travis-scott\/\" id=\"auto-tag_travis-scott\" data-tag=\"travis-scott\">Travis Scott<\/a> in his typical melodic flow on \u201cChampain &amp; Vacay.\u201d The Houston star\u2019s pushback against <a href=\"https:\/\/www.rollingstone.com\/t\/clipse\/\" id=\"auto-tag_clipse\" data-tag=\"clipse\">Clipse<\/a>\u2019s \u201cSo Be It,\u201d where <a href=\"https:\/\/www.rollingstone.com\/t\/pusha-t\/\" id=\"auto-tag_pusha-t\" data-tag=\"pusha-t\">Pusha T<\/a>\u2019s ripped Scott for his\u00a0 <a href=\"https:\/\/www.gq.com\/story\/pusha-t-explains-why-he-has-words-for-travis-scott\" rel=\"nofollow\" target=\"_blank\">\u201clack of loyalty\u201d<\/a> towards past mentors and friends like <a href=\"https:\/\/www.rollingstone.com\/t\/kanye-west\/\" id=\"auto-tag_kanye-west\" data-tag=\"kanye-west\">Kanye West<\/a> and <a href=\"https:\/\/www.rollingstone.com\/t\/drake\/\" id=\"auto-tag_drake\" data-tag=\"drake\">Drake<\/a>, seems relatively tame. The irony, though, is that Scott isn\u2019t young anymore, either. At age 34, he\u2019s been a star since 2014\u2019s <em>Days Before Rodeo<\/em>, and his traits are overly familiar: the watery and slightly distorted harmonies, the insistent luxury metaphors, and the way he punctuates his verses with adlibs like \u201cit\u2019s lit!\u201d and \u201cstraight up!\u201d At his best, Scott shapes these tropes into immersive <em>Astroworlds<\/em>, creations where the sonics are so dazzling that one tends to overlook its plasticine exteriors and lack of nuance and frisson. But a decade\u2019s a long time to spend in virtual reality.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<em>Jackboys 2<\/em>, a sequel to 2019\u2019s EP-length chart-topper <em>Jackboys<\/em>, may be intended as a showcase for Scott\u2019s Cactus Jack imprint and acts like Don Tolliver, Sheck Wes, SoFaygo, and Wallie the Sensei. But it ultimately sounds like Scott and his Amazing Friends. He hogs most of the tracks alongside high-wattage guests like Playboi Carti and <a href=\"https:\/\/www.rollingstone.com\/t\/future\/\" id=\"auto-tag_future\" data-tag=\"future\">Future<\/a> (\u201cWhere Was You\u201d), Tyla and Vybz Kartel (the tropical-sounding \u201cPBT\u201d), Youngboy Never Broke Again (\u201cOutside\u201d), and 21 Savage (\u201cKick Out\u201d). The nearly hour-long project is threaded with quotes from UGK hero Bun B that seem designed to center <em>Jackboys 2<\/em> as a Texas-sized blockbuster. \u201cThis shit get intergalactic,\u201d promises Don Tolliver on \u201cChampaign &amp; Vacay.\u201d<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tTo his credit, Scott tries to rap a bit harder than usual, especially on \u201cKick Out\u201d and \u201cDumbo,\u201d the latter where he brags, \u201cChain on ice cream, don\u2019t melt.\u201d There\u2019s some nice production, particularly from producers F1lthy and Glasear on \u201cWhere Was You,\u201d which floats with an odd, harpsichord-like melody. But everything sounds paved with the same rolling trap-like thump, a baseline requirement for rage-rap. Songs meander by with nothing but banal sentiments to distinguish them, like Scott claiming, \u201cI\u2019m sittin\u2019 courtside, can hit the ref with a tech\/Lambo door suicide, she get blessed if we mesh\u201d on \u201cContest.\u201d\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThere are a few good shots, though, like when SahBabii claims, \u201cRainbow diamonds, this shit on me blingin\u2019\/Stepped out of the jeweler, bought a gay parade (wow, wow)\u201d on \u201cBeep Beep.\u201d Kodak Black inserts pathos into \u201cFlorida Flow\u201d when he raps, \u201cI don\u2019t wanna live too long, too old, but I don\u2019t wanna die this young\/All I know if \u2018trol pull us over, this bitch better hide this gun.\u201d And hilariously, GloRilla uses her cameo on \u201cShyne\u201d to rap, \u201cMy only regret is bein\u2019 too young to fuck Matthew McConaughey.\u201d Ultimately, <em>Jackboys 2 <\/em>unfolds like a mediocre Netflix movie, an amusing late-night diversion that\u2019s hard to remember the next day.<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/travis-scott-jackboys-2-review-1235386964\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cYeah, man, I swear these old niggas kill me,\u201d raps Travis Scott in his typical melodic flow on \u201cChampain &amp; Vacay.\u201d The Houston star\u2019s&#8230;<\/p>\n","protected":false},"author":5,"featured_media":41124,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-41123","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/41123","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=41123"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/41123\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/41124"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=41123"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=41123"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=41123"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}