Same Bitches (feat. G-Eazy & YG)

"Same Bitches" is a collaborative track that explores the darker, more cynical side of fame and fortune as experienced by Post Malone, G-Eazy, and YG. The core meaning of the song is a lament about the homogeneity and perceived insincerity of the women they meet in the high-profile social circles of Los Angeles. Despite the city's vast population, the artists feel they are constantly encountering the same archetype of woman: one who is primarily motivated by money, status, and proximity to fame. The lyrics suggest these women are often aspiring actresses or models who use relationships with celebrities to advance their own reputations. There's a strong sense of disillusionment and weariness, as the artists feel they cannot form genuine connections because they are perpetually suspicious of people's motives. The recurring line, "Population four million, how I see the same bitch?", serves as a rhetorical expression of this frustration, implying that the celebrity world is a small, insular bubble filled with predictable characters. The song also functions as a braggadocious anthem, where the artists flex their wealth and status as the very things that attract this unwanted attention, creating a paradoxical trap of their own making.

The song narrates the collective disillusionment of Post Malone, G-Eazy, and YG with the women they encounter in their life of fame, particularly in Los Angeles. The central theme revolves around the idea that despite the city's large population, they repeatedly come across the same type of superficial and opportunistic women. Post Malone opens by describing a scenario where a woman he connected with via direct message tries to use their interaction for her own reputation. He sees through her motives, recognizing that her interest is tied to his wealth, exemplified by his ability to spend "a hundred bands in one night." He cynically questions her background and concludes he can't turn a "ho a housewife," highlighting a deep-seated mistrust. The chorus reinforces this weariness, stating he's been in L.A. too long and sees the "same bitches" everywhere, regardless of whether they are aspiring actresses or models—he's heard all their stories before. The rhetorical question, "Population four million, how I see the same bitch?" underscores the feeling of being trapped in a cycle of predictable, shallow encounters. G-Eazy continues this narrative in his verse, describing a woman who curates a perfect image on Instagram but is ultimately a "catfish" and a "Hollywood devil." He points out the discrepancy between her designer bag and her modest car, suggesting a façade. He positions himself as wise to her games, crediting his OGs for teaching him to recognize insincerity. He boasts about his own success and the lavish lifestyle that attracts these women, while asserting his dominance and inability to revert to a simpler life. YG's verse brings a more raw, West Coast perspective. He bluntly states that he and his friends have been with the same women, categorizing them as being from L.A., Hollywood, or the Valley. He details a transactional view of these relationships, questioning a woman's loyalty by revealing that her friends have also been with his friends. He cynically recounts how a woman's perceived stability is due to her relationships with powerful men, including the head of his record label. The song concludes by repeating the main hook, cementing the artists' shared perspective of frustration and cynicism towards the dating scene within their celebrity bubble.

"Same Bitches" was released on April 27, 2018, as a track on Post Malone's second studio album, Beerbongs & Bentleys. The song is Post Malone's first collaboration with both G-Eazy and YG. The track was produced by Swish and Cashio. According to producer Swish, the song had been in development for approximately two years before its official release. A notable element of its composition is the interpolation of the 1968 song "Time of the Season" by the British band The Zombies, which led to their keyboardist, Rod Argent, receiving a writing credit. The album Beerbongs & Bentleys was a massive commercial success, debuting at number one on the US Billboard 200 and breaking streaming records on Spotify, which contributed to the widespread exposure of all its tracks, including "Same Bitches".

The song follows a structure common in hip-hop, with a repeating chorus and distinct verses from each artist. The rhyme scheme within the verses is generally straightforward, relying on couplets and simple end rhymes (e.g., "play me" / "naked," "roll in" / "broken"). This simplicity keeps the focus on the lyrical narrative and the artists' flow. The rhythm is defined by a mid-tempo trap beat. Each artist's lyrical rhythm interacts with this beat differently. Post Malone's delivery is fluid and melodic, often stretching words and phrases across the beat. G-Eazy's flow is more on-beat and conversational, creating a steady, confident pace. YG's rhythm is punchier and more syncopated, reflecting his energetic West Coast style. The chorus provides a rhythmic anchor, with its repetitive, catchy cadence making it the most memorable part of the song. This interplay between the consistent musical rhythm and the varied vocal rhythms of the three performers adds texture and dynamism to the track.

Musically, "Same Bitches" employs a classic trap beat, characterized by deep 808 bass, crisp hi-hats, and a hazy, atmospheric synth melody, creating a backdrop that is simultaneously laid-back and melancholic. The production, handled by Swish and Cashio, provides a cohesive sound for the three distinct vocal styles. Each artist brings their signature delivery: Post Malone uses his melodic, sing-song rap style in the hook and his verse, blurring the lines between singing and rapping. G-Eazy delivers his verse with a smooth, confident, and rhythmic flow characteristic of his style. YG contrasts this with a more aggressive, distinctly West Coast cadence and slang. Lyrically, the song utilizes repetition heavily in the chorus to drill home the central theme of monotony and disillusionment. The artists use modern slang and direct, often confrontational language to convey their message. A key musical technique is the subtle interpolation of the melody from The Zombies' "Time of the Season," which adds a classic, almost psychedelic texture to the modern trap sound.

"Same Bitches" was released as part of Post Malone's critically and commercially successful album Beerbongs & Bentleys. The album debuted at #1 on the Billboard 200, breaking streaming records and solidifying Post Malone's status as a superstar. While not released as one of the album's official five singles, "Same Bitches" gained significant attention. Upon the album's release, the song entered the Top 5 on the US iTunes sales chart. The track contributed to Post Malone breaking the record for the most simultaneous Top 20 hits on the Billboard Hot 100. The song's themes, though criticized by some for being misogynistic, resonated with a segment of listeners who identified with the artists' portrayal of the L.A. lifestyle and the pitfalls of fame. The collaboration itself was significant, bringing together three major artists from different stylistic corners of hip-hop. The song remains a notable track in Post Malone's discography, representative of the hedonistic and melancholic themes that defined the Beerbongs & Bentleys era.

The song's central metaphor is encapsulated in its title and chorus, "I see the same bitches everywhere I go." This phrase isn't meant to be taken literally as seeing the exact same individuals, but rather symbolizes a recurring archetype of a person. The "same bitch" is a symbolic representation of superficiality, opportunism, and the perceived lack of individuality among women who pursue famous men for their wealth and status. Los Angeles itself serves as a symbolic setting, representing the epicenter of fame, fortune, and the often-hollow pursuits associated with Hollywood culture. G-Eazy uses the term "catfish" not in the literal online sense, but metaphorically to describe a woman whose glamorous social media presence is a deceptive façade hiding a less glamorous reality. He also refers to her as a "Hollywood devil, not an angel," using religious imagery to contrast her alluring appearance with what he perceives as a corrupt or malevolent nature.

The most prominent recurring phrase is the song's central hook: "I been in L.A. too long / I see the same bitches everywhere I go." This refrain acts as the song's thesis statement, repeated multiple times to emphasize the artists' feelings of weariness and cyclical disappointment. The line "Population four million, how I see the same bitch?" is another key recurring rhetorical question that highlights the paradoxical feeling of living in a huge city but feeling trapped in a small, insular world of superficiality. This line appears in the chorus and as an outro, driving the point home. The motif of transactional relationships is also recurrent, with mentions of money ("spent a hundred bands"), status symbols ("Designer everything, Benz truck"), and the idea that affection and attention are conditional on wealth and fame ("I know you only like me 'cause I just spent a hundred bands").