Not even a regular heavyweight rap battle entry, Kendrick Lamar's Not Like Us is an entire cultural event. Debuted on May 4, 2024, at the height of the biggest rivalry in hip-hop, devastating with just the kind of intensity that Kendrick would deliver. Whether you view it as one aimed directly at Drake and the OVO camp or generally as an indictment of the industry's hidden truths, "Not Like Us" showcases Kendrick at his best in combining brutally honest rawness with layers of lyricism coupled with sagacious yet critical messages of society. Through blistering verses and an all-familiar affected West Coast beat, he dismantles personas, exposes hypocrisies, and reminds everyone why he remains one of rap's most vital voices.
Who is the Lyricist Behind "Not Like Us"?
Kendrick Lamar, one of the most popular figures in modern hip-hop, brought these lyrics into the world in "Not Like Us." With his prodigious wordplay and provocative lyrics, often addressing political issues, he has blurred the line of what is boldly and unflinchingly stated. Here, he tries to blend social incisiveness with competing notions of identity, power, and rivalry into a single story, thus continuing his status as a premier lyricist.
When is the "Not Like Us" Release Date?
On the 4th of May, 2024, officially under Interscope Records, Not Like Us dropped. The great attention attracted by that song stemmed from its heavy lyrics and its influences from West Coast hip-hop. The track spans 4 minutes 34 seconds, and it mixes all realities and rough street settings from Kendrick, as well as the quiet and introverted commentary style that makes for a great addition to his already impressive discography.
Let’s get into the reasons why Not Like Us has become one of the most talked-about diss tracks in recent memory- and why its message goes far beyond simple rap beef.
Full Lyrics and Not Like Us Meaning Explained
Intro:
Psst, I see dead people
(Mustard on the beat, ho)
Meaning:
Kendrick opens with a chilling line, signaling he's about to expose the "dead" (fake) people in the industry. The Sixth Sense reference sets a ghost-hunting, predatory mood.
Mustard Tag First Bars:
Ayy, Mustard on the beat, ho
Deebo any rap nigga, he a free throw
Man down, call an amberlamps, tell him, "Breathe, bro"
Nail a nigga to the cross, he walk around like Teezo
What's up with these jabroni-ass niggas tryna see Compton?
The industry can hate me, fuck 'em all and they mama
How many opps you really got? I mean, it's too many options
I'm finna pass on this body, I'm John Stockton
Beat your ass and hide the Bible if God watchin'
Sometimes you gotta pop out and show niggas
Certified boogeyman, I'm the one that up the score with 'em
Walk him down, whole time, I know he got some ho in him
Pole on him, extort shit, bully Death Row on him
Meaning:
Kendrick doesn't waste time dominating his competitors. In his first line, he compares with Deebo from Friday, the character who rules through intimidation. This sets forth the track, in which Kendrick tells how he represents unstoppable rap. Further asserting his willingness to reveal the industry's frauds, he uses "Death Row" (an infamous record label with a really hard reputation) and "Compton" (Kendrick's gritty childhood home) to establish his street credibility. These references are meant to remind the rap world about Kendrick's roots and the authenticity behind those, presenting him as one who not only survives but thrives in one of the harshest terrains of the music world.
Direct Attack at Drake:
Say, Drake, I hear you like 'em young
You better not ever go to cell block one
To any bitch that talk to him and they in love
Just make sure you hide your lil' sister from him
They tell me Chubbs the only one that get your hand-me-downs
And Party at the party playin' with his nose now
And Baka got a weird case, why is he around?
Certified Lover Boy? Certified pedophiles
Meaning:
Here, Kendrick directly accuses Drake and his close associates of engaging in questionable and morally dubious behavior. By calling out Drake's associations and actions, Kendrick implies serious moral failings that go beyond mere personal choice, suggesting that these actions have a deeper, darker side. He dings the rather mixed-up reputation that Drake has cultivated around himself by exploiting the meaning of Drake's own brand: "Certified Lover Boy," wherein instead of "vying for love and charm," Kendrick utilizies it to amplify what he sees as predatory behavior, a pretty fine jab at the hypocrisy in Drake's public persona. This demonstrates the take that Kendrick has because of the way he hears Drake presents himself versus the way he feels it really is beneath the image.
Hook:
Wop, wop, wop, wop, wop, Dot, fuck 'em up
Wop, wop, wop, wop, wop, I'ma do my stuff
Why you trollin' like a bitch? Ain't you tired?
Tryna strike a chord and it's probably A minor
They not like us, they not like us, they not like us
They not like us, they not like us, they not like us
Meaning:
Kendrick places an emphasis on the contrast between his crowd and everybody else in the industry, pointing out that they are simply different. Furthermore, he declares is real and his crew is honest, real, and true, while everybody else, the pop mainstream, or fake-gangsters are simply not "like us." This repetition works to reinforce the idea that there is nothing to compare between the true, real street credibility Kendrick represents and the falsehoods of his competitors. It is, therefore, a clear statement of superiority for which he calls out his rivals as simply puppets who do not possess the depth and substance of his crew.
Second Verse:
You think the Bay gon' let you disrespect Pac, nigga?
I think that Oakland show gon' be your last stop, nigga
Did Cole foul, I don't know why you still pretendin'
What is the owl? Bird niggas and burnt bitches, go
The audience not dumb
Shape the stories how you want, hey, Drake, they're not slow
Rabbit hole is still deep, I can go further, I promise
Ain't that somethin'? B-Rad stands for bitch and you Malibu most wanted
Ain't no law, boy, you ball boy, fetch Gatorade or somethin'
Since 2009, I had this bitch jumpin'
You niggas'll get a wedgie, be flipped over your boxers
What OVO for? The "Other Vaginal Option"? Pussy
Nigga better straighten they posture, got famous all up in Compton
Might write this for the doctorate, tell the pop star quit hidin'
Fuck a caption, want action, no accident
And I'm hands-on, he fuck around, get polished
Fucked on Wayne girl while he was in jail, that's connivin'
Then get his face tatted like a bitch apologizin'
I'm glad DeRoz' came home, y'all didn't deserve him neither
From Alondra down to Central, nigga better not speak on Serena
And your homeboy need subpoena, that predator move in flocks
That name gotta be registered and placed on neighborhood watch
I lean on you niggas like another line of Wock'
Yeah, it's all eyes on me, and I'ma send it up to Pac, ayy
Put the wrong label on me, I'ma get 'em dropped, ayy
Sweet Chin Music and I won't pass the aux, ayy
How many stocks do I really have in stock? Ayy
One, two, three, four, five, plus five, ayy
Devil is a lie, he a 69 God, ayy
Freaky-ass niggas need to stay they ass inside, ayy
Roll they ass up like a fresh pack of 'za, ayy
City is back up, it's a must, we outside, ayy
Meaning:
In this verse, Kendrick brutally tears Drake's character and credibility apart. He questions Drake's loyalty to the culture, his authenticity in the rap game, and attacks his masculinity and street credibility. Kendrick builds the tension further by invoking well-known figures, like DeRozan (a basketball player) and even referencing 90s West Coast rap, ensuring that his message is as blunt as it is layered with deeper criticisms. The entire verse remains a masterclass in lyrical complexity and strategic warfare in the form of music.
Third Verse (Storytelling Part):
Once upon a time, all of us was in chains
Homie still doubled down callin' us some slaves
Atlanta was the Mecca, buildin' railroads and trains
Bear with me for a second, let me put y'all on game
The settlers was usin' townfolk to make 'em richer
Fast-forward, 2024, you got the same agenda
You run to Atlanta when you need a check balance
Let me break it down for you, this the real nigga challenge
You called Future when you didn't see the club (Ayy, what?)
Lil Baby helped you get your lingo up (What?)
21 gave you false street cred
Thug made you feel like you a slime in your head (Ayy, what?)
Quavo said you can be from Northside (What?)
2 Chainz say you good, but he lied
You run to Atlanta when you need a few dollars
No, you not a colleague, you a fuckin' colonizer
The family matter and the truth for the matter
It was God's plan to show y'all the liar
Meaning:
Kendrick likens the historical exploitation of marginalized communities during the era of colonization to what he believes to be Drake's appropriation of Southern rap culture for personal and financial gain. Kendrick argues that both Drake and the colonizers used Atlanta's rap scene as an important focal point within Black culture to somehow manufacture or create a sense of street credibility and commercial viability for themselves off of Southern artists. Colonizers exploited those who were conquered for profit, where Drake would seemingly tap into the resources and creative output of Atlanta-based artists to his gain, where not much is given back in return. In this verse, Kendrick places Drake not as an actual participant in the culture but as someone who capitalizes on it for his own gain, condemning him for exploitative and opportunistic behavior.
Final Bridge:
He a fan, he a fan, he a fan (Mm)
He a fan, he a fan, he a
Freaky-ass nigga, he a 69 God
Freaky-ass nigga, he a 69 God
Hey, hey, hey, hey, run for your life
Hey, hey, hey, hey, run for your life
Freaky-ass nigga, he a 69 God
Freaky-ass nigga, he a 69 God
Hey, hey, hey, hey, run for your life
Hey, hey, hey, hey, run for your life
Meaning:
Kendrick is calling Drake out and saying that, rather than being someone whom Kendrick deems a legitimate opponent, he looks at Drake more like a fan imitator who has overtried to fit in. The referent of "freaky" is being thrown at Drake in a directly derogatory sense, making a half-joking, half-exaggerated point about the aforementioned behavior. This syllable, in a weird way chant is repeated a few times, forming a sort of psychological operation intended to diminish Drake's credibility further. It's the knockout punch in this war, a place where Kendrick removes the veil; thus, the whole feud becomes an instance of mockery where he has shown that Drake has lost the authenticity and respect that Kendrick has maintained since the exit gate of the industry.
Outro:
Let me hear you say, "OV-ho" (OV-ho)
Say, "OV-ho" (OV-ho)
Then step this way, step that way
Then step this way, step that way
Meaning:
Kendrick laughs off the OVO brand of Drake, pretending it is a playground cheer and taking the significance it had and inflating it into something trivial. This betrayal essentially lays the whole OVO brand's mystique and prestige into something childish and trivial. That final jab makes Drake more emasculated by portraying him as someone whose brand and reputation can very well easily be dismantled, saying Kendrick still reigns supreme in the rap game. What Kendrick does is: he belittles Drake by taking on such a childish yet defaming approach when he can even take him on either a much superior level or an inferior one.
Conclusion: Not Like Us Is More Than a Diss—It’s a Cultural Reset
The Diss Masterclass: Kendrick Lamar’s Not Like Us strikes an unbelievably personal heart-and-soul diss as well as a wider social discourse. It challenges claims of authenticity and exploitation and cultural pride, as well as what legacy might be. And all of that comes from the hip hop: not bigger brands or catchier hooks, but realness, roots, and responsibility.
It's catchy enough to light up a club, raw enough to fuel a feud, and deep enough to be studied for years. With Not Like Us, Kendrick didn't just put himself in a winning position; he radically altered the debate regarding what matters in greatness as people think of it in 2024.
