‘Dumb’ hopes fans lay down cash asap for sonic expedition
Ending the eight year drought since his last album, rapper and producer A$AP Rocky (Rakim Mayers) has released his long awaited record, Don’t Be Dumb. His fourth full length project drummed up buzz amongst fans and the industry at large as it was repeatedly delayed. Originally planned for Aug. 30 of 2024, it was pushed back several times to Jan. 16, 2026. He cited perfectionism along with a focus on family as the reasons for the wait, with both themes being evident in the lyrics of the tracklist. Commercially, Don’t Be Dumb debuted at number one on the billboard 200, selling 123,000 equivalent units in the first week, an impressive, albeit, not out of character achievement.
Rocky, not for the first time in his career, bridges genres on his new album, taking inspiration from punk, electronic, rage and even jazz. Originally, Rocky appealed to a large audience in part due to his combination of styles; it was novel for a Harlem-born rapper to incorporate distincly southern sounds and aesthetics, like he did on Long. Live. A$AP. Rocky’s 2018 flop album Testing was the next evolution of this, an attempt at fusing styles which ended up as more of a choir of disjointed voices. Don’t Be Dumb comes across as the spiritual successor to Testing, but with a more cohesive message.
Given the scattered influences on the project, the production is equally hard to nail down succinctly, but overall, Rocky takes on a more modern, pop rap sound than usual, betraying the gritty, unique vibe which made him famous in the first place. However, even the most commercial sounding tracks are laced with experimentation.
The degree to which Don’t Be Dumb is innovative rather than derivative is debatable; sometimes it seems Rocky has taken a swing for the fences just for the sake of it, while other times it seems he has stumbled upon an authentic moment which could prove to be as influential as the rest of his catalogue. This matches the original Tim Burton album cover which evokes street art imagery, equal parts doodle and masterpiece.
The album opens with “ORDER OF PROTECTION” where Rocky addresses his hiatus: “It’s been a lil’ while since I’ve been in the league,” which leads smoothly into a two minute banger of him saying, well, not much. It’s classic hip-hop lyrics, and sonically, very effective. But for an opening song, it’s somewhat lackluster. Not bad, by any means, just inoffensive. On a project which is trying to be ambitious, beginning with perhaps the least unique song fails to set the tone.
Notably, though skits are generally viewed negatively on albums, the third track, “INTERROGATION” is one of the few exceptions. A voice memo from Rocky which seems to have been recorded in transit, representing his business, has him frustrated with fans who think they deserve more music. Had it been the opening, I think the album as a whole would be perceived in a different light. Instead, by beginning with two basic, but still entertaining songs which wouldn’t be out of place topping the charts, he undercuts his whole message of apathy.
One of the project’s many bright spots is on the next song, the witty, at times sassy, “STOLE YA FLOW,” a thinly veiled diss to fellow rapper Drake for “stealing his flow”. He drops a plethora of effective, efficient bars just vague enough to sound innocent. It’s an apropos response to Drake’s very public repeated passes at Rocky’s wife and fellow music star Rihanna.
“STAY HERE 4 LIFE,” immediately after, is unequivocally one of the best songs on the project; it’s pop-oriented yet original, with unmatched vocals from Brent Faiyaz that turn a charming rap song into a love ballad worthy of the ballroom floor. The song is one of many odes to Rocky’s developing, public relationship with the aforementioned Rihanna. Themes that are further addressed on the next song “PLAYA” where Rocky dispels any rumors of infidelity, a welcome and novel message in the hip hop sphere.
On “STOP SNITCHING”, Rocky professes his opinion on the titular topic, with fluid features from BossMan Dlow and Sauce Walka. The song barely keeps itself on the rails lyrically but carries a worthwhile, if debatable message. A few references are laced in Rocky’s verses to his 2025 court case in which he was found not guilty of assault.
In an unfortunate turn of events, the next song “STFU” along with its Slay Squad feature is a disjointed, industrial mess. The heavy metal, grimy vocals of the band don’t mix with Rocky’s trademark confident, suave style. However, in all its failings, “STFU” helps to introduce the second half of the album in which Rocky begins to make greater experimental jumps; it is just regrettable to have begun that trend with such an ear-ruining song.
Taking the project in a more pleasing direction are “AIR FORCE” and “ROBBERY.” Though the two couldn’t be much more different, they serve a similar purpose. The former is an electronic, dance, nearly hyperpop number which slows into a cerebral, dreamy trap banger. The latter features undeniable chemistry between Rocky and guest star Doechii as they rap over a lounge jazz instrumental. Both tracks are impressive demonstrations of Rocky’s range and ability to curate sounds, which he was so known for in the first place.
Supplying its name to the project is the romantic, slow and groovy “DON’T BE DUMB/TRIP BABY,” which helps to transition dreamily into the final track. The appropriately named “THE END,” is a topical address regarding the state of the world. Rocky delves into deep topics including prisons, global warming, corporate greed and even school lunches all over a haunting instrumental. Vocals from Jessica Pratt at the end of the song add to the depressing vibe, to the point the song could fit in a horror movie. But it all works, since it comes across as incredibly sincere, with Rocky expressing worry about the world his kids will grow up in.
That was the entire album for a few days, before a surprise social media post from Rocky saying, “DISC 1 WAS FOR ME, DISC 2 WILL BE FOR THE FANS!” in which the album was rereleased on all platforms to include three new songs. “SWAT TEAM” Is forgettable and milquetoast but unobjectionable during its runtime. On “FISH N STEAK” Rocky and Tyler the Creator glide over a crisp beat and whistly instrumental to mediocre results. “FLACKITO JODYE” becomes the new closer to the album and well it is unique with Tokischa’s cute falsetto vocal performance it still manages to offer nothing new.
Though it is good to hear that Rocky got something out of the first batch of songs, there isn’t much for the fans in the second. Repeatedly throughout the album he makes a show of being blasé about the public’s opinion, so it is confusing to see him give into it with this commercial album-splitting move. Regardless, though the second disc seems like more of an inauthentic cashgrab than anything, it doesn’t detract much from the substance that many songs on Don’t Be Dumb have.
In a project filled with hits and misses, A$AP Rocky has filtered out more of the former than the latter. Though it may be trying too hard to be innovative, it’s trying nonetheless and Rocky is one step closer to cementing himself as the hip-hop giant he once was.
Grade: C+
Don’t Be Dumb is as stylish and ambitious as ever, although the hits don’t land hard enough to justify the hype.
by Isaac Considine-Buelow
Published February 9, 2026
Oshkosh West Index Volume 122 Issue IV