Travis Scott and JACKBOYS just dropped the most unpredictable album of the year.
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TOP 5
HONORABLE MENTION. FLORIDA FLOW
“FLORIDA FLOW” is one of those tracks that takes a few spins to click fully. At first, the intro can feel a little off-putting—with its warped vocal inflection and production that gives off “’90s MJ basketball highlight reel” energy—but once the track shifts gears, it finds its groove in a big way. The beat transitions into a bouncy, club-ready rhythm, accompanied by slick, Miami Vice-style melodies that add vibrant, tropical heat to the mix. That’s when the real magic begins.
Travis Scott shines in the second half, delivering one of his most energized performances on the project. His rapid-fire flow paired with his emotionally charged vocals creates a momentum that’s hard to ignore. Then Kodak Black steps in and matches the vibe perfectly, unleashing a surprisingly focused and sharp verse. His tricky flow and raw lyrics about life in Florida, dodging law enforcement, and staying real add weight to the track. It may not be for everyone, but “FLORIDA FLOW” is undeniably a vibe once it finds its footing.
5. CAN’T STOP (Ft. Future, Don Toliver & Wallie The Sensei)
“CAN’T STOP” is a banger that mixes a bunch of s**t that probably shouldn’t be mixed together. The production booms, yet has these smooth, serene undertones that will make it feel like your ears are getting a massage in a room that just experienced an earthquake. Don Toliver kicks things off with a vocal performance that’s easily one of his boldest to date. His voice soars to dizzying heights on the hook, laced with passion and intensity, as he details his codeine-fueled haze and emotional detachment from a woman he feels the need to avoid. His chorus is hypnotic and unforgettable, setting the track’s tone with both emotional weight and sonic flair.
Future picks up the energy with a gritty, melodic verse that adds contrast and swagger. His flow is relentless, almost urgent, as he brags about his lifestyle and casually references his drug use, giving the song that signature Future edge. Then there’s Wallie The Sensei, who may seem like the wild card here, but still brings his own melodic finesse. His verse is smooth and full of YN energy, helping round out the track even if he feels slightly like the third wheel. Altogether, “CAN’T STOP” feels like an addictive collision of moods.
4. PBT (Ft. Tyla & Vybz Kartel)
“PBT” brings together Travis Scott, Tyla, and Vybz Kartel for a track that oozes island sensuality while keeping just enough edge to feel modern and bold. The production leans into smooth, breezy Caribbean vibes, complete with subtle percussion and mellow melodies—but oddly, the beat never fully drops, which bothers the f**k out of me. Still, that doesn’t stop the song from being f**king amazing.
Travis delivers one of his most intimate vocal performances to date, with lightly altered vocals that give him the aura of a crooner who sings for money at a boardwalk. His lyrics explore vulnerability and affection, admitting that this woman’s love has flipped his usual player mindset and made him more dependent on her presence and energy.
Tyla slides in seamlessly with a seductive, high-pitched delivery that radiates confidence and allure. Her verse flips the perspective, singing about how her magnetism pulled this man in and left him eager to prove himself—perhaps trying too hard. The chemistry between her and Travis is surprisingly impressive, adding a dreamy romantic tension to the song.
Then comes Vybz Kartel with his signature commanding energy, dropping a fiery verse that injects life and movement into the track. His appearance—complete with dynamic beat changes and sonic alarms—feels like a burst of sunshine through the haze, grounding the song in tradition while giving it an electric jolt.
I think “PBT” will be the track that gets to 100 million streams the fastest.
3. BEEP BEEP
“BEEP BEEP” is easily one of the most interesting tracks on the album. The production hits hard but stays unorthodox, blending booming drums with slick, woozy textures and an unexpected xylophone melody that adds a quirky, hypnotic charm. Travis shines solo for most of the track, rapping with reckless confidence as he flexes his wealth, wild lifestyle, and oddly specific preferences—like wanting a girl with an ass bigger than the ones Zion Williamson is into.
SahBabii slides in toward the end of the song and makes the most of his short time on the mic. His verse is energetic and fluid, delivered with a melodic flow that oozes charisma and carefree vibes, perfectly complementing the track’s mood. It’s a strong finish to a track that already feels like a standout. That said, one gripe remains: Travis’s use of a vocal effect that feels a little too Carti-inspired. While it doesn’t ruin the experience, it does slightly distract from an otherwise sharp and unique performance. Still, “BEEP BEEP” is a wild, vibrant ride worth revisiting.
2. 2000 EXCURSION (Ft. Travis Scott, Don Toliver & Sheck Wes)
With production that opens like a spiritual cousin to Kanye West’s “POWER,” “2000 EXCURSION” quickly flips into a bass-heavy, menacing trap anthem ready to whoop your speakers and rattle your nerves.
Travis Scott kicks things off with his signature melodic menace, sliding through the beat with a carefree, rebellious verse. He’s flexing bags, linking with “bad Spanish chicks,” and doing what he does best: floating over unpredictable soundscapes like he owns them. Then comes the first twist—Don Toliver arrives with a short, dreamy hook that’s hazy, melodic, and layered over the track’s temporary return to its “POWER”-inspired origins. It’s brief but magnetic.
Sheck Wes brings the chaos, but not necessarily in the best way. His verse is drowned in sound effects and distortion, making it a little hard to focus on his bars unless you’re reading the lyrics. Still, the energy is there.
Just when you think the song’s winding down, Travis Scott returns with a surprisingly soulful, hypnotic outro, drenched in synths and melodic flourishes. It adds a whole new layer of depth before the track plunges back into its dark, rattling trap roots.
The Verdict? “2000 EXCURSION” is ambitious, aggressive, and loaded with ideas. The dual beats are fire, Don Toliver’s hook (though short) sticks with you, and Travis delivers in both performance and presence. If anything holds the track back, it’s the over-processed Sheck Wes section—but even that adds to the chaotic, wild nature of the song.
1. WHERE WAS YOU (Ft. Playboi Carti & Travis Scott)
“WHERE WAS YOU” thrives on manic energy and haunting textures. The production is dark and unrelenting, driven by pounding 808s and eerie melodies that give the track a paranoid edge. Playboi Carti kicks things off in full psycho mode—his voice pitched and unhinged as he rants about alien lifestyles, unfiltered lust, and having his balls gobbled by women. It’s the kind of verse that only Carti could pull off.
Travis Scott follows with what might be his best verse on the entire album. His delivery is more grounded, but the flow is razor-sharp, and his melody work is infectious. There’s an introspective layer to his bars as he reflects on the people who went ghost during his rise, all while still indulging in a bit of rockstar recklessness. Future wraps things up with a hypnotic verse that plays like a mind game—his cadence smooth yet sinister, as the beat shifts into a slightly more digestible, trance-like rhythm.
Altogether, “WHERE WAS YOU” thrives off its relentless pace, distinct personalities, and wild energy, making it one of the most memorable and genre-bending moments on the project.
SONG-BY-SONG RATING
1. JB2 RADIO (N/A)
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RGM RATING
(74%)
One of the main reasons I enjoy compilation albums is that they allow the headlining artist—Travis Scott, in this case—to experiment without the pressure of it affecting his core discography. JACKBOYS 2 is a perfect example of that freedom. Here, we get multiple versions of Travis: the vengeful one firing shots at Pusha T, the psychedelic one fully immersed in trippy soundscapes, the robotic version with heavily distorted vocals, and the classic, cool, auto-tuned Travis that fans fell in love with. It’s like a showcase of his many artistic personas, proving he can tap into the various sounds and moods dominating youth culture.
Surrounding Travis is a supporting cast and sound palette that’s wildly eclectic. The features span generations—from rap veterans like Waka Flocka Flame to rising stars like GloRilla and NBA YoungBoy. The production is equally unpredictable, jumping from dark, spacey trap to reggae-infused cuts to R&B-drenched bangers. At times, it feels like a musical fever dream, but that’s also part of the fun.
The combinations of artists on tracks are surprisingly effective. Don Toliver and Future mesh well on their song, offering melodic highs. Tyla and Vybz Kartel bring a global vibe with island flavors, while Sheck Wes and Travis link up on a few tracks that feel tailor-made for wild festival energy. Even the JACKBOYS members get their moments. SoFaygo shows major potential with standout energy, and Don Toliver acts as the glue, delivering some of the most infectious and memorable vocal moments across the album.
Still, the project isn’t without its flaws. Some tracks feel like they’re made specifically for teenagers in 2034, which makes the album’s staying power questionable in the present. A few moments of experimentation also come off as overly ambitious or disconnected. Strangely, Travis—despite being the anchor—sometimes feels like a distant figure, detached from his own crew. There’s a sense that this isn’t a true collaboration project, but rather a Travis Scott album that just so happens to feature the JACKBOYS.
Overall, JACKBOYS 2 may not deliver the cohesiveness or camaraderie you’d expect from a crew project, but it does offer a bold, genre-bending ride filled with sonic risks and bursts of brilliance. Some tracks will hit immediately; others may take time, or never land at all. Either way, it’s a wild, intriguing listen that invites repeat spins just to unpack its chaotic vision.
Quincy is the creator of Ratings Game Music. He loves writing about music, taking long walks on beaches, and spaghetti that fights him back.