After 5 long years, Baby Keem returned with his new album Ca$ino, putting the music world on notice once again. Considering how much time he put into it, it’s only right that we took our time with this one—listening to it backwards and forwards, making sure it passed the car test, spinning it 10+ times… you know, the usual. And we’re ready to give the tracks their appropriate rankings.
Here is every song on Baby Keem’s Ca$ino, definitively ranked.
Note: This was one of the most difficult rankings we’ve done. Every song is fire, and things are subject to change.
11. “No Security”
“No Security” is Baby Keem’s welcome-back track, detailing the situations he’s been encountering since we last heard from him 5 years ago. His voice has matured significantly, his subject matter is more refined, and it’s immediately obvious that we’re in for a hell of a project from the jump.
Whether he’s tackling his guilt or battling with fame and fortune, the intro is a perfect appetizer for what comes next on the album.
10. “Dramatic Girl” (ft. Che Ecru)
Keem has always had a fantastic ear for pop and alternative music, and “Dramatic Girl” exercises that perfectly. Going back to his previous work, songs like “HATE MY EX” and “16” showcased his potential for a summer banger, and he definitely landed one this time.
The quality of each song made it extremely difficult to rank them, but this placement felt right compared to how dense or replayable some of the other tracks are.
9. “Birds & The Bees”
Don’t let the low placement of this track fool you, it’s a HIT. It just so happens to be on an album full of hits, some of which are more multilayered and contribute to the story even more. But Keem absolutely slid on this one.
The samples across the album are refined, hypnotic, and perfectly placed. It’s almost impossible not to catch a vibe somewhere on this project, and “Birds & The Bees” makes that known off the rip. Also, the video is hilarious and features Desmond Johnson from RDC, along with Lara Raj from KATSEYE.
8. “$ex Appeal”
On the surface, “$ex Appeal” is a club-banger with a West Coast swing, but the song placement and connotation reveal some deeper layers. In various other songs, Keem has discussed how he uses lust to cover up his issues with feeling emotion. He even tackles the issue of self-control within this song itself, admitting that these encounters can be irrational and spur-of-the-moment.
Rather than just stating the “girl” he’s referring to has sex appeal, he states that she has too much of it. So much so, that she’s nearly unavoidable. In this sense, it’s possible the track could be a metaphor for drugs as well, considering Keem’s upbringing and environment. It’s definitely layered, but also, it bangs.
7. “Ca$ino”
The album’s title track, “Ca$ino” introduces the sonic theme of the album, which mirrors the ups and downs of Keem’s life and those same ups and downs that come with gambling in Vegas. Where “No Security” is rather mellow, the transition sounds like winning big at the slots, and things go up from there.
From the insane pace and flow, to the distinctly meticulous production, “Ca$ino” says one thing loudly and proudly: Baby Keem is back!
6. “House Money”
“I SMELL SOMETHINGGG!” Keem and Kendrick have another high energy banger on their hands, and this one will definitely go crazy at the live show. Initially teased in the Booman I documentary, the mixed and mastered version of the track sounds fantastic, and the hook is even more catchy than expected.
Keem’s delivery in the second verse is one of the standout moments on the album as well, as he sounds disgusted with a lot of rappers and how they’ve been moving while he’s been away:
“He put his name on his chain, what the f-ck he got a name for?/ N-ggas know my name, what the f-ck I need the chain for?”
5. “No Blame”
The most direct, and as a result, heartbreaking track on the album, “No Blame,” is Keem battling the notion of reconciling with his mother. On the surface, the repeated “I don’t blame you, mama” can seem like blanket forgiveness, but every other line shows that he’s struggling with doing so.
It’s an incredible balancing act, with a lot more nuance than the first listen gives off. Various broken promises sit at the center of the song, and the short runtime suggests that he might still have more to work out. Considering he’s only 25 years old, that’s completely understandable.
4. “Good Flirts” (ft. Kendrick Lamar & Momo Boyd)
Dipping into his R&B bag, Keem structures “Good Flirts” like a perspective on two people in an on-and-off relationship. In his verse, he reflects on a partnership that went south, and the hook states that they’re done. Momo Boyd’s part, however, sounds as if she isn’t fully over it. Letting out a good cry and flirting with other people is just the cover-up for how the situation made both parties feel.
Kendrick’s feature adds another layer to the story, as everything he speaks about is exactly the kind of thing the couple did when they were still together. It’s a perfectly fitting addition, carrying on where songs like “luther” leave off. If you didn’t like the verse—or if you’re genuinely that upset, booty—that’s your own business.
3. “Highway 95 pt. 2”
While “Highway 95 pt. 1” detailed some of Keem’s traumas and experiences in Vegas, the continuation track delves deep into some of the shit Keem has seen. And it’s a lot. So much so that it left him feeling as if every day was monotonous and emotionless, and his vocal delivery has that quality to it.
It’s revealed in the Booman documentaries exactly how unstable his living conditions were, constantly moving between his mother, grandmother, and aunt’s care. Directly outside of his home, drugs ran rampant, as well as gambling and prostitution. Seeing all of this at a young age caused him to run away from it all, and we hear part of that story here.
2. “Circus Circus Freestyle”
“Circus Circus Freestyle” will probably go down as the most hype song of 2026, and it’s only February. Keem went absolutely crazy on this one, with what feels like 100 flow and voice switches, 10 beat changes, and quotable lines as far as the eye can see.
Words won’t even do it justice, especially once you get to the end. While it’s not one of the deep cuts, the sheer amount of palpable energy and execution in this track puts it right at the top of the list. With just one listen, you’ll understand why.
1. “I am not a Lyricist”
Now, we’ve seen people call this song André 3000-coded. And we’ve seen people argue it sounds more like Section.80 Kendrick. What people fail to realize is, 2010-2012 Kendrick took heavy influence from OutKast, most notably on tracks like “Poe Mans Dreams” and “Sherane a.k.a. Master Splinter’s Daughter”—the latter of which is a direct ode to André 3000’s track “A Life In The Day of Benjamin Andre.”
Keem takes the standout attributes from the two artists, both obvious influences in his music, and creates his most well-rounded song to date. So many of the bars are deeply visceral, adding color to the outlines he gave throughout the Booman documentary. But more than anything, “I am not a Lyricist” gives a directive.
The hook states “Now you know who to point that billion dollar camera at/Overcoming geniuses, serenading.” It isn’t just a concept or an idea, the entire pgLang mission statement reflects this notion. Art that can move the music world forward is oftentimes created by those who have the bravery to stand on the front lines with their story, and Keem did just that.