It is easy to over-estimate Drake’s fall from grace. True, he was unanimously declared the loser in the most high-profile rap beef of recent times, and is currently engaged in a protracted legal battle with his own record company over said rap battle that everyone except Drake and his lawyers seems to think smacks of the worst kind of bad loserdom. He is also fighting lawsuits alleging that he illegally misled viewers during gambling livestreams – pretending to bet his own money while actually using funds from an online casino he promotes – and that he furthermore channelled funds from said online casino into artificially inflating streaming figures (Drake has not commented on the allegations; Stake, the casino, described one of the lawsuits as “nonsense”). Also in the lawsuits is Adin Ross, a denizen of the manosphere who Drake has been palling around with, unbothered that the other guests on Ross’s stream have included Andrew Tate and Nick Fuentes.
Equally, Drake is still the most-streamed rapper in the world. Had all this really impacted on his mainstream popularity, his last album – Some Sexy Songs 4 U, 2025’s collaboration with PartyNextDoor – would have died at the box office, rather than entering the US charts at No 1 and going on to sell a million copies. If his public reputation is looking a little tarnished, well, we live in an era of short attention spans and shorter memories: it would probably only take one unequivocal banger – a One Dance or Hotline Bling 2.0 – for the slate to be wiped clean.
