Offset’s ‘Kiari’: All 18 Tracks Ranked

Similarly to “All of My Hoes,” “Calories” doesn’t hit with the urgency of Kiari’s other highlights. Offset sounds as if he’s on cruise control, and while It’s a good show of strength on the mic, Set changes his pace so well elsewhere on the project that “Calories” just feels fairly boilerplate as a result.

Offset does his thing on “Checkmate (Smooth),” delivering his signature style over a compelling beat layered with swelling strings. While he stays firmly in his comfort zone, this isn’t necessarily a pro or a con. Day One supporters will appreciate the consistency, but listeners hoping for more creative boundary-pushing might be inclined to skip.

While Offset smoothly glides over the laid-back melody of “All of My Hoes,” the track starts to feel a bit stagnant towards the end. He remains firmly in his comfort zone, but by the time the song wraps up, there’s little to jolt the listener out of the lull.

Offset opts for a slow burn of an intro on “Enemies.” He flexes his wealth, luxuriates in expensive cars and jewelry, but knows behind it all are darker forces at play. “Lord, protect me from my friends, I can handle my enemies,” Set raps. “Enemies” sets the tone for Kiari, and introduces a slightly darker and more reflective Offset to the world.

The transition from “Prada Myself” and “Never Let Go” into a sex-tinged R&B bop is a bit jarring, admittedly. But once you settle in, Set’s triplet flow is perfectly in sync with Ty’s signature brooding. In regards to the sequencing, it just feels like “Favorite Girl” would have made more sense earlier on in the project.

Hearing Offset rap with a touch of Auto-Tune over his vocals offers a refreshing and relaxed change of pace. This track feels tailor-made for a late-night drive through the city, where its vibe would really comes to life.

While Set does his thing, the real star of “Back in That Mode” is YFN Lucci, who after a tumultuous legal saga sounds hungrier than ever to get back on the mic. Offset does his thing, but Lucci’s sing-song cadence tumbles out of him breathlessly. It’s like he’s so relieved to be rapping again the words can’t flow out of him fast enough.

Between a smooth hook from Teezo Touchdown and Offset’s reflective stand of mind, “Prada Myself” soars as a memorable ballad on the track. The track glides effortlessly, flowing like water, and leaves you wanting more when it ends all too soon.

Set and Glock shine on “Run It Up,” trading playful jabs at their opps over pounding drums and a polished soul sample. The track fits Glock like a glove, as he delivers his guest verse with effortless confidence, never breaking a sweat.

“Set It Off” is an irresistibly catchy interlude that feels like an instant earworm. Offset taps into his “Bad & Boujee” era, showcasing his knack for melody with effortlessly hummable bars like, “I’m pullin’ up trim/ Stepping out/ You getting money like who/ Boy, cut it out.” The song is far too short, but makes a compelling argument that Quavo maybe wasn’t the only Migos rhymer would could dabble in melody.

On “Professional,” Offset slides, struts and finesses his way through women, expensive jewelry and more in a song that fits snugly within Set’s rap cannon. He sounds completely in control and in his comfort zone, showcasing the flows and rhythmic side steps that he’s known for.

Gunna and Offset’s shared agility on the mic consistently delivers, and “Different Species” is yet another win for the Atlanta duo. Gunna’s syrupy cadence perfectly complements Offset’s staccato rhythm, creating a dynamic interplay that’s hard to ignore. While the subject matter treads familiar braggadocious territory, the sheer smoothness of their execution makes it hard to complain.

Offset reflects on the trauma of loss alongside John Legend on “Never Let Go,” with Legend serving as the perfect ballader for a song this painful. Set offers up some of the deepest bars of his career, ruminating on what’d it’d be like to get one more day with his brother.

The muffled beat of “Folgers” is as smooth as, well, a cup of Folgers. It provides Offset plenty of space to stutter-step and weave his way through the track, effortlessly jumping around on the track just to remind the opps he can. “They was sleepin’ on me, turnin’ to a beast,” Offset declares, delivering his bars with sharp precision.

The lush ’80s feel of “Love You Down” gives Offset a whole new world to explore, and he embraces the open-world nature of the beat by playing around with his flow in some subtle, fun ways. The swarm of synths makes Set’s hook significantly stand out, making “Love You Down” the closest the Atlanta rapper has ever come to crafting a radio-friendly pop song.

Flipping Nina Simone’s “Don’t Let Me Be Misunderstood” into a rumbling trap beat, Set and YB sound perfectly in sync on “Pills.” Set’s steady pace mixed with YB’s unrestrained attacks across Nina Simone’s gentle coos causes “Pills” to ooze with personality.

“Move On” is likely the most important song on the project. Introspective and deep, it’s less of a song and structured more like a diary entry or poetry. “Happy for you, why you ain’t happy for me?” he coos as he examines his role in his tumultuous divorce. At the end of the day, Set is trying to “move on in peace,” so here’s hoping this song is the first step in that process.

Never thought Drowning Pool would somehow make its way into an Offset song, but here we are. J.I.D. and Set are locked in on “Bodies,” trading verses like a game of hot potato with a loaded glock. Set’s triplet flowed wordplay is alive and well here (“I keep a stick or a blicky in case it get sticky”), and both rappers sound like they’re having a blast. J.I.D., fresh off the release of his own album earlier this month, sounds incredibly eager to enter Offset’s world, spitting incendiary bars that could rival anything on God Does Like Ugly.