In a time when the leaders of 2010s SoundCloud trap find it hard to maintain consistency and relevance, SahBabii remains something of an outlier. While Lil Uzi Vert releases cash grab sequels and Trippie Redd sinks to KSI’s level, others have adapted for greater mainstream appeal. Post Malone — as expected — has fully embraced the highly lucrative white country audience, while Playboi Carti has cultivated an even more hyper-exclusive, fashion-forward persona.
In this revolving door of shifting relevancy and style biting, SahBabii has kept a steady popularity without changing himself completely. He is still trap’s most interesting side character: an amphibian-voiced crooner with a fixation on various animals and an insatiable freakiness only matched by Kevin Gates. When he raps about both at the same time, you can only hope the animals are metaphorical. Among the many other so-called Young Thug “clones,” SahBabii stands out by actually sharing what makes Thug interesting: an individualistic identity and style, and a natural ability to find rhythmic pockets of ear candy in stereotypical trap beats.
In a meritocratic world, SahBabii might be where Gunna is today, but the former has never seemed to care for fame or expectations. SahBabii’s projects, such as Squidtastic and Barnacles, feature only his older brother T3, setting SahBabii apart from peers who rely on high-profile collaborations or a strong social media presence.
On his latest album Saaheem, he delivers the same qualities that make him exciting: it’s deviantly sensual on “Mirror Picz” and slightly menacing on “Stay Away From Trouble.” The songs are less interesting when they’re too ordinary or repetitive like on “Anaconda Livin” or “On Film.” As usual, the trap beats are never the main focus.
Vocally, however, Saaheem is pretty special, taking the expressions that make modern trap so addictive and channeling them in an enjoyably hectic way. For instance, the deep voice on “Viking” feels like the final form of the style Playboi Carti has been experimenting with recently. SahBabii switches between voices like he’s selecting avatars in a fighter game, making it sound as if four different rappers are on a single track.
“All The Way,” “Roll Wit Me” and “Waikiki” channel the hedonistic power of Young Thug’s So Much Fun but with even more fun. The hook on “Kodak” is manic and unrestrained like Barter 6’s best moments but with sparkling, 2020s-coded electronics that sound like a Destroy Lonely beat handled by a competent rapper. SahBabii confirms he still has a natural intuition for these styles, even if others have had more mainstream success with them.
The rapping on Saaheem runs on adrenalized momentum and feeling rather than a strict rhythmic meter. He often lets loose with freeform flows that tumble out with brazenly reckless energy. The best moments come when he leans into vocal hyperbole, like the deep-voiced antics on “Bi” or the nasally delivery on “Belt Boyz” — both of which are so playful they almost feel like parody.
Though the style is fun, Saaheem is more cutthroat and serious than his previous work, which makes sense as the man himself gets older. The watery, ambient casualness of Squidtastic and the unrelenting freakishness of Barnacles is dialed down. Like his previous album Do It For Demon — a grounded project dedicated to his late friend — he is more introspective. Tracks like “1095 Osborne St” and “Workin” feel like equally engaging parts of this creative world where the juvenile and mature coexist.
Saaheem tells us that SahBabii doesn't need to evolve drastically to remain relevant, because there’s nothing groundbreaking or radically new here. His vocal style and consistency keep him interesting without needing to force a so-called “aura.” His charisma and creativity go further — bending conventions to make space for his own expression.
