family ties (with Kendrick Lamar)

"family ties" is a multi-layered song that operates on several thematic levels. At its core, it is a powerful display of familial succession and creative synergy between cousins Baby Keem and Kendrick Lamar. The track serves as a formal 'passing of the torch,' with Lamar, the established titan, co-signing and introducing his prodigiously talented younger cousin to the world. The title itself underscores this central theme of lineage and loyalty. Beyond the family connection, the song is a bold statement of artistic identity and dominance in the competitive landscape of hip-hop. Keem's verses focus on his journey, asserting his lyrical credibility and celebrating his hard-won independence, while pushing back against critics. Lamar's return is a declarative reassertion of his place at the apex of the genre. He critiques the superficiality he sees in the current music scene, dismissing rappers who gained fame in his absence as temporary. He positions himself not as a mere 'trending topic,' but as a 'prophet,' an artist of substance and longevity. The song is also an exploration of duality, a theme reflected in its two-part structure and the contrasting yet complementary styles of the two artists.

The song unfolds in two distinct, powerful halves, reflecting a dialogue between the established king and the rising prince. It begins with Baby Keem bursting onto the scene with a triumphant, horn-driven beat. His verse is a whirlwind of youthful bravado and raw ambition. He tackles his come-up in the music industry, reflecting on his independent grind before achieving mainstream success. Keem asserts his authenticity, pushing back against critics who might pigeonhole him. He talks about navigating the complexities of newfound wealth and the responsibilities that come with it, like buying his grandmother a home. There's a sense of controlled chaos in his delivery, a staccato flow that mirrors the aggressive energy of the production. He expresses gratitude to his cousin, Kendrick Lamar, for opening doors but is keen to establish his own identity, referencing his Gemini nature as a sign of his multifaceted personality.

Suddenly, the track undergoes a seismic shift. The beat switches to a darker, more menacing, and experimental sound, signaling the arrival of Kendrick Lamar. His verse is a commanding statement, a reassertion of his dominance after a period of public silence. He declares himself the 'omega,' the final word in the rap game, dismissing fleeting trends and superficial 'overnight activists.' Kendrick's flow is complex and unpredictable, shifting in cadence and tone as he critiques the state of the industry. He fires shots at those who achieved success during his hiatus, branding them mere 'visitors.' There's a palpable intensity to his words, a mix of anger, confidence, and artistic freedom. He weaves in personal references, shouting out his company pgLang and adopting a theatrical, almost unhinged persona, notably by ending lines with 'brother' in a nod to Hulk Hogan. This section is a dense tapestry of wordplay and social commentary, culminating in a powerful declaration of his enduring legacy and the strength of his familial and artistic bonds with Keem. The song concludes by reinforcing this unity, a declaration of a new dynasty in hip-hop.

"family ties" was released on August 27, 2021, as the lead single from Baby Keem's debut studio album, The Melodic Blue. It marked the first official collaboration between the real-life cousins, Baby Keem and Kendrick Lamar, and was Lamar's first significant musical release since 2018. The song was also the first release under pgLang, the multi-disciplinary media company co-founded by Kendrick Lamar and Dave Free. The track's creation involved a team of producers, including Baby Keem himself, Cardo, Outtatown, Roselilah, Deats, Jasper Harris, and Frankie Bash. The first part of the song, featuring the horn-driven beat, was initially previewed in a March 2020 video that introduced pgLang, where the track was tentatively titled "Jump 2". The single's cover art is a direct homage to the cover of Lamar's seminal 2012 album good kid, m.A.A.d city, further cementing the theme of family and legacy. The accompanying music video, directed by Dave Free, featured a cameo from singer Normani and was highly acclaimed.

"family ties" demonstrates a complex and dynamic approach to rhyme and rhythm, largely abandoning traditional, predictable rhyme schemes for a more free-form, intricate structure. Both Keem and Kendrick employ a variety of rhyme types, including internal rhymes, slant rhymes, and assonance, which create a sophisticated and densely layered lyrical texture. Keem's rhythm is characterized by a staccato, almost percussive delivery that often plays with and against the beat, creating a sense of restless energy. His flow is agile, adapting to the shifts in the underlying production.

Kendrick's section is a masterclass in rhythmic complexity. His flow is unhinged and rambunctious, constantly switching cadences and intentionally pushing against the offbeat to heighten the rugged and manic feel of his delivery. He uses variations in tempo and polysyllabic rhyme schemes to turn his verse into a tour de force of technical skill. The interplay between the lyrical rhythm and the instrumental's beat switches is a core element of the song's power, with the artists' deliveries either locking into the new groove or purposefully creating tension against it. This creates a listening experience that is both jarring and exhilarating.

The most prominent stylistic technique in "family ties" is its dramatic use of multiple beat switches. The song is structured in distinct sections, each with its own sonic identity. It opens with a triumphant, brass-heavy beat, creating a celebratory and bombastic atmosphere for Keem's verse. This transitions into a darker, murkier, and more experimental trap beat for Kendrick's entrance, shifting the song's mood from celebratory to confrontational. This structural choice creates a narrative arc within the song, mirroring the introduction of two different artistic personas.

Vocal delivery is another key technique. Baby Keem employs a unique, often off-kilter and energetic staccato flow, with an adaptive, stream-of-consciousness style. Kendrick Lamar showcases his legendary versatility, moving between aggressive flows, manic cadences, and a bizarre, theatrical impression of Hulk Hogan, using the repeated word 'brother' to create an unhinged and unpredictable effect. This vocal experimentation highlights his creative freedom and mastery. The song also features ad-libs and recurring phrases that add to its texture and energy, such as Keem's signature "huh, huh" and the repeated command to "jump in that".

"family ties" had a significant cultural impact upon its release, largely heralded as the triumphant return of Kendrick Lamar after a multi-year hiatus. The song was met with widespread critical acclaim, praised for its innovation, lyrical depth, and the dynamic chemistry between Keem and Lamar. It served as a major launching pad for Baby Keem's debut album, The Melodic Blue, solidifying his position as a formidable new voice in hip-hop. The track performed well commercially, peaking at number 18 on the Billboard Hot 100 chart. Its greatest accolade was winning the Grammy Award for Best Rap Performance at the 2022 ceremony, earning Baby Keem his first Grammy. The song was also nominated for Best Rap Song. The music video, directed by Dave Free, was also highly celebrated, winning Video of the Year at the 2022 BET Awards. The track's use of dramatic beat switches and its blend of two distinct artistic styles has been influential, showcasing a bold, structurally ambitious approach to mainstream hip-hop.

The song and its accompanying video are rich with symbolism. The central metaphor is the 'family tie' itself, representing not just their blood relation but a shared artistic DNA and a transfer of legacy. The cover art, referencing good kid, m.A.A.d city, symbolizes Keem as the next generation emerging from the same roots as Kendrick.

Kendrick's verse is particularly dense with symbolic language. Declaring himself the 'omega' positions him as the ultimate, final authority in rap, a Christ-like figure who represents the end of an era and the beginning of a new one. His line "smoking on top fives" is a blunt metaphor for his superiority, suggesting he effortlessly surpasses other rappers considered the greatest. The reference to 'Metatron and Gabriel' uses archangels to assert his divine level of talent and connection to a higher power. The term 'SIE' is interpreted as a double entendre, meaning both 'Self-Imposed Exile' for his time away from the spotlight and the Greek phrase 'Es ah-ee,' meaning 'forever,' signifying his eternal commitment to his craft and pgLang. The video utilizes the concept of duality, contrasting images like an angel twerking or ballerinas in a mosh pit to explore the complex, often contradictory nature of their world and art.

Several recurring motifs and phrases anchor "family ties." The most obvious is the concept of family itself, explicitly stated in the title and reinforced through the collaboration between the cousins. The idea of legacy and succession is a constant undercurrent. A key recurring lyrical phrase from Baby Keem is the command to "jump in that," which serves as an energetic call to action, symbolizing his readiness to face challenges and his aggressive confidence. Its frantic repetition enhances the track's chaotic, high-octane feel.

In Kendrick's verse, the word 'brother,' delivered in a distorted voice imitating Hulk Hogan, becomes a bizarre and memorable motif. This repetition adds to the unhinged and theatrical quality of his performance. He also repeats the assertion that he is the 'omega' and a 'prophet,' not a 'trending topic,' reinforcing his theme of enduring artistry versus fleeting fame. The motif of 'top five' rappers is another significant element, used by Kendrick to assert his dominance over the entire genre. The entire song is structured around the motif of duality, presented through its two-part musical structure and the contrasting styles of the two artists.