Yeat’s ‘ADL’: All 21 Tracks Ranked

“Tallër” blends thumping drums and cymbals with Yeat’s typical rage synths. He sits comfortably in pockets with significant space between them, allowing for the production to shine almost as much as his vocals. The issue is, the beat isn’t all that interesting. Ultimately, it’s just a slight waiting game to see if he says anything that will activate the listener. With not that many lines to write home about,  “Tallër” finds itself at the bottom of this list.

“Liv Likë Dis” has menacing production. One can easily imagine this being the soundtrack of a hard-hitting high school strong safety’s highlight tape as he stalks slot receivers trying to run drags or out routes and blasts them with hit sticks. Yeat’s lyrical performance is fine, but again, not too memorable, especially in the face of the five songs that precede it to start the album.

“Geek Luv” isn’t “bad” by any stretch of the imagination, but it struggles to stand out. It is your standard rage beat. His flows don’t evoke the scrunched face, and no line really sticks. Nonetheless, one can imagine a record like this going over well in a live setting, where some fans mosh and others just jump in place. And for those people who get to experience that one day, big salute. 

“Naked” has a cool opening, which is almost reminiscent of an ’80s record that would play in the dance scene of a television show or movie. As the song progresses, he blends that with his popular sound of today, as he repeatedly tells a woman that he just wants to see her with her clothes off and doesn’t care for the run-around she is giving him. It is a short, inoffensive song, but it still doesn’t capture the greatness of any ranked higher on this list.

“Real Life S–t” sounds like it would be in the top ten of any Billboard chart on Mars. The production is extraterrestrial, and Yeat plays around with his voice’s pitch and inflections to match the “weirdness” of it all. He also admits he is wrestling with his own self-control, repeating “I’m lookin’ for a reason to tweak.”

Let’s just hope that the publications out in space respect him — otherwise he may be the next celebrity to head out that way with his sole mission of destroying something.

Let us be clear: under no circumstance are we saying that Yeat makes R&B or soul music, but “Silk Facë” sounds like his attempt to make his version of that, while incorporating all of the elements of his signature sound. The beat is slower, but still loaded with electric synths and heavy drums. His voice is slightly softer, but he can’t completely avoid the screamo-rap-type disposition that makes him who he is. This is calm and chaotic at the same time.

Yeat shows that he can play around with the listener’s psychology on “No More Ghosts.” The production is plodding, but feels like it wants to pick up the pace, and eventually hit a crescendo before something more rapid appears. However, instead, it sticks to this incessant buildup as Yeat hands the baton off to Kid Cudi, who thrives on these types of beats. Yet Cudi slows things down even further, and his signature Auto-Tune belts take center stage as aspects of the beat gets stripped away.

The star of “Back Home” is Joji, who completely ascends on this record. It would’ve been cool to hear the Japanese singer get to cook a bit more than just on the bridge and outro, but you can’t fault Yeat for wanting to be the focal point. And yes, Yeat sounds good in a slower setting, but honestly feels complementary. Sometimes, less is more.

“Went Wrong” is a welcome change of pace, leaning further into his alternative archetype more so than any other track on the album. From crooning to tapping 070 Shake’s celestial vocals was brilliant A&Ring. There is a calmness evoked through the song that is far from commonplace in his world of rage. Sure, it’s not what you come to a Yeat album for, but it is such a notable performance that it’s easy to imagine this being on repeat for many — especially those who maybe usually don’t play his music.

The juxtaposition of album closer “Up From Here” with opener “Purpose General” makes perfect sense. He spends the beginning of the LP flexing the spoils of his hard work aggressively, yet he closes the project reflecting on the time when he hit rock bottom in a slower, more melodic manner. New OVO Sound signee Pimmie helps him convey the message, and it lands well. Once again, this may not be the sound that Yeat stans were looking for, but he was intent on showing he has way more in his arsenal, and that is laudable. 

“Dangerous House” is one of the more unique records on this project. It opens with filtered vocals before transitioning into a 2010s Ye-type beat. The mixing on this song is interesting as well, as his vocals feel lower than the rest of the album, allowing the production to take over. The song lives up to its name, noisy and mad, to the point where the shrieks of someone in trouble may or may not be audible.

A lot of people may not have thought Yeat had this in his bag. Though “My Time” still falls in his wheelhouse vocally, there is a backpack bop element to the song that isn’t his usual cadence. Additionally, the repetitive “Go, go go” ad-libs in the background sound familiar — which makes all the sense in the world, with Swizz Beatz appearing on the track. This is one of the songs that make ADL feel like a statement album. No matter how much people try to box Yeat into one sound, he is more versatile than naysayers may have realized.

The passionate LP opener finds Yeat standing firm on his work ethic. Though he admits he has time for women in his life — who are seemingly more into him than he is into them — his primary focus is continuing to grind and make paper. The Irvine, Calif.-born artist dismisses lethargy, sleep, wasting time talking about other people, charts and album bundles, among other distractions and nuisances. If the message isn’t clear that Yeat is dialed in on another level based on his lyrics, then the immersive production loaded with synths, a self-referential flip of his 2025 record “Loco,” and sampling the whistle-esque vocals from Ye’s 2016 track “Wolves,” helps convey the severity of his current situation.

Kevin Gates has two phones, Tity Boi became 2 Chainz, and Yeat opts to have two methods of air travel. And much like an aircraft, he slices through clouds and wind, which in this instance would be one of the best beats on the album. There is a steady stream of percussion, guitar-like synths and backing vocals, yet he still shines.

Admittedly, this song probably would have been ranked lower if not for the simple fact that no one could have ever imagined Yeat and Elton John’s names appearing next to each other. The British pop and rock legend rarely misses, especially when working with rappers, and that continues here — even though his presence is minimal and only in the introduction. It was a brilliant call to sample John’s “Someone Saved My Life Tonight” and Ye’s “Good Morning” as well.

“2Nite” is one of many gym-friendly songs on this album, as the tempo is perfect for the bench press or squat rack. Thriving off simplicity, the beat isn’t anything out of the ordinary for him, and he doesn’t try and do too much in the verses. Yeat can attack beats just as well as he can float over them, and on “2Nite” he does the latter to near perfection.

The project’s sole single, “Let King Tonka Talk,” is arguably Yeat’s best rapping display through all 21 songs. He switches flows with ease, cutting through the punchy production like a hot knife through butter. King Kylie — who many may know as Kylie Jenner — appears briefly for the second chorus, but sounds good enough to leave a memorable mark. Add in LUCID’s contributions to the outro, and you have an overall fulfilling effort here.

At this point, what is there left to say about Yeat and BNYX as a duo? “What I Want” is an apt title — because, of all iterations of the British-Romanian-Mexican artist, the version people seemingly enjoy most is the one elevated by the Delaware producer.

At the same time, the title doubles as both a declarative statement and a snapshot of the album: Yeat does what he wants, and you either get with it or get lost. Based on his constantly ascending popularity, most listeners have chosen the former.

Julia Wolf appearing on “My Way” doesn’t come as a shock after her appearance on Drake’s “Dog House” was so well-received. Yeat doesn’t switch up the formula either; Wolf doest her thing in the opening, lulling the listeners to sleep with her warm voice before Yeat hits them over the head with booming production and animated, screech-like vocals. “My Way” is a jam.

The second song on any album is very important and Yeat, understands the assignment here. “Face the Flamë” is another cinematic track where one can picture him walking through fire holding an assault rifle after taking down a rival gang. Not only does he face the flame, but he adopts it for himself, and taps the rapper with the hot hand currently, YoungBoy Never Broke Again, as his co-star. YB was one of the shining stars of 2025, and he brings that momentum over to 2026 with his performance here. Grimes’ sparse lines are just the cherry on top of a hot rage sundae. 

“Griddlë” is undeniably the best song on this album. Between Yeat’s rap performance, the amazing beat, the BPM and Don Toliver’s celebrated voice, it is easy to picture this taking over clubs, underground parties, festivals, Instagram stories, TikTok GRWMs and everything in between. This is his 83-point game. Yeat Adebayo has arrived.