JACKBOYS 2 is a lot. Seventeen tracks (20 on the deluxe). Plenty of different aesthetics. Zero chill. Somewhere between a label flex and a group therapy session, the album throws every sound at the wall—from rage beats to dancehall detours—and lets the features fight for survival.
Travis Scott plays ringleader, but he’s clearly in curator mode here, letting the guests do the heavy lifting. Some rise to the occasion. Others barely show up. There are moments of brilliance like Carti on “WHERE WAS YOU,” and then there are moments like 21 Savage on “KICK OUT” that had fans asking, “Why is he here?”
It’s less a cohesive album and more a chaotic rap camp, where every artist got a turn with the aux, and the results range from iconic to “please delete this off DSPs.” So we did what had to be done: ranked every feature from JACKBOYS 2, starting with the ones that lit the place up and ending with those that barely cleared the room.
Here’s the definitive list—from absolute heat to cold, hard skip.
1. Playboi Carti on “WHERE WAS YOU”
Let’s not overthink it—Playboi Carti didn’t just steal the spotlight on JACKBOYS 2. He hijacked the whole track.
His chorus on “WHERE WAS YOU” feels like it spilled out of a manic 3AM voice memo: “I been f***** this ho all week, she damn near gave me her code, Flexin’, took a jet to Mexico,” he raps. From there, Carti doesn’t let up. What makes it hit isn’t lyricism; it’s the conviction. He doesn’t play around the edges of chaos—he dives headfirst.
Ratings Game Music said he was “in full psycho mode,” and that’s putting it lightly. Critics quickly named “WHERE WAS YOU” a standout, and it’s Carti’s off-the-rails performance that makes it impossible to skip. Call it a feature if you want. But this is a takeover.
2. Future on “WHERE WAS YOU”
Right after Carti blows the door off its hinges, Future strolls in like nothing happened.
On “WHERE WAS YOU,” he plays the calm in the storm—unfazed, composed, and locked into his own eerie pocket. While the production spirals with F1LTHY’s distorted guitar loops and Carti’s glitchy madness, Future rides through with laid-back menace:
“Drinkin’ on the Texas, I done fell back in love, South of Francis, we go Monaco, on another planet,” he raps.
The verse is full of jet-setting flexes and cartoon shoutouts, but what makes it stick is how unbothered it sounds. He doesn’t fight the chaos—he lets it swirl around him. HotNewHipHop described his delivery as “sleepy but wavy,” and that vibe is exactly what glues the track together.
The mix caught some flack from critics, but the slightly muffled vocals actually play into his lowkey delivery, and it weirdly works. The rapper’s presence alone is enough to center the entire song, and that’s what makes this one of the strongest features on JACKBOYS 2.
3. SahBabii on “BEEP BEEP”
SahBabii’s feature on “BEEP BEEP” might not blow your mind, but it definitely brings something fresh to the table—and that’s rare enough on JACKBOYS 2.
The production on “BEEP BEEP” feels like it was lifted straight from a glitchy Mario level—quirky, bouncy, and a little off-kilter. SahBabii matches that vibe perfectly, injecting a playful, lighthearted tone that stands out amid the album’s darker, moodier moments. His flow bounces with the beat, adding a novelty factor fans couldn’t help but notice.
Not everyone was sold. Some reviewers called the beat “Super Mario Brothers type” and applauded the uniqueness of the soundscape, but SahBabii’s verse itself got mixed reviews. While some listeners found it charming and fitting (“Fuck a hundreds n***** gonna do with these apes?” added some humor in), others thought it fell flat or was just unsuccessful “lyrical riffing.”
At the end of the day, SahBabii’s verse on “BEEP BEEP” has charm and a distinct vibe that earns it a solid third-place finish among the features. It’s like that unexpected power-up in a game—maybe not the strongest, but definitely memorable and worth keeping in your back pocket.
4. Kodak Black on “FLORIDA FLOW”
Kodak Black’s feature on “FLORIDA FLOW” carries its own weight with a gritty, grounded vibe that fits the track’s mood perfectly.
Over a beat perfect for your next boat party, Kodak delivers verses that blend street grit with smooth cadence. His flow rides the rhythm with a casual confidence, giving the song a low-key menace without needing to shout or overperform. It’s that cool, effortless flex that fans of Kodak have come to expect—along with a potential tour hint (“Somebody call Keem FaceTime, say we goin’ on tour with Travis Scott”)?
Reviews noted Kodak’s feature as solid but not show-stealing. Some listeners point out that while “FLORIDA FLOW” adds some necessary texture to JACKBOYS 2, Kodak’s contribution doesn’t quite reach the standout level of Carti or Future. Still, his signature style adds authenticity, grounding the album’s more experimental moments.
Kodak’s verse on “FLORIDA FLOW” strikes a balance between smooth and focused, making it a reliable highlight without stealing the spotlight. It’s the verse you nod your head to without overthinking—solid, memorable, and perfectly placed. Not the album’s MVP, but definitely worthy of respect.
5. Tyla on “PBT”
Tyla’s feature on “PBT” brings a refreshing island flair that adds much-needed diversity to JACKBOYS 2’s sonic palette.
Over the dancehall-inspired beat shared with Vybz Kartel (for better or for worse) and Travis Scott, Tyla slides in with effortless cool, seducing the listener into pulling up to “the ‘Burg.” Her smooth flow and melodic cadence complement the track’s laid-back, tropical mood, giving the song a breezy texture that sets it apart from the album’s trap-heavy cuts.
While JACKBOYS 2 received mixed reviews overall, critics appreciated how “PBT” introduced a different flavor to the project. Tyla’s contribution was noted as a highlight for adding variety and overall sounding great, even if it didn’t grab the same attention as some of the other features.
Tyla’s verse is subtle but effective—a smooth splash of island breeze on an otherwise stormy album. It doesn’t scream for attention but rewards listeners who appreciate nuance and style. That understated charm secures her spot as the fifth-best feature on the album.
6. GloRilla on “SHYNE”
GloRilla’s verse on “SHYNE” might not be the loudest or wildest on JACKBOYS 2, but it brings a fresh dose of raw energy (and some unforgettable ad-libs) to an already hype track.
Coming through with that unmistakable Memphis swagger, GloRilla delivers her verse with a fierce, no-nonsense flow that cuts through the smoky production like a machete. Her punchy bars (the NSFW line about swallowing “them kids so fast, had to fuck around, put out an Amber Alert”) give the track an undeniable bounce.
“SHYNE” flips a sample from the 2000 track “Bad Boyz” by Shyne and Barrington Levy (also sampled for TikTok laughs). The vintage sample clashes with the heavy verses in a way that turns retro nostalgia into pure chaos, perfect for today’s ragers.
GloRilla’s playful energy and those memorable ad-libs (AKA “Wobble it, wiggle it, wobble it, wiggle it, wobble it, wiggle it”) quickly became meme material online. It’s like she showed up to a serious rap meeting and said, “Let me just vibe and have fun,” and it worked perfectly.
While not the most technically flashy verse on the album, GloRilla injects life and authenticity into a track that could’ve otherwise been just another intense beat with Scott’s humming. That balance earns her the sixth-best verse spot on JACKBOYS 2, proving sometimes the vibe matters just as much as the bars.
7. NBA YoungBoy on “OUTSIDE”
NBA YoungBoy’s feature on “OUTSIDE” is solid, but on an album packed with chaotic energy, weird production choices, and surprise standouts, his performance feels more like a deep cut than a defining moment.
YoungBoy brings his usual emotional intensity to “OUTSIDE,” laying down bars about loyalty, paranoia, and not trusting anybody (“We got them sticks in the truck, it’s a V”) — AKA a regular Tuesday in his discography. His delivery is moody and measured, with that signature pain-in-his-voice quality that fans ride for. He floats comfortably over the beat, but doesn’t take any real risks. It’s clean, consistent, and very YB.
Critics noted that while his verse is technically fine, it doesn’t shift the energy or elevate the track in a major way. In an album that thrives on weird choices and left turns, his verse plays it straight. If this were a solo project, it’d hit harder. In the context of JACKBOYS 2 though, it fades into the background. Reliable? Yes. Revolutionary? Not quite. That’s why he clocks in with the seventh-best verse on the album: steady, but not standout.
8. Waka Flocka Flame on “CHAMPAIN AND VACAY”
Technically, it’s not even a full verse. Regardless, Waka Flocka Flame’s presence on “CHAMPAIN AND VACAY” still somehow makes an impression. Think of it less like a feature and more like a glorified cameo—he’s not driving the car, but he’s yelling out the window.
Waka’s contribution to the track is, for the most part, him yelling “BRICK SQUAD” and easily over 30 “BAOW, BAOW, BAOWs.” While Scott and Don Toliver float across the syrupy beat with their usual melodic flair, Waka’s shouty ad-libs cut through like an airhorn.
There’s no real verse here, but Waka gives his best hype man impression, and honestly, it kind of works. On a track about living luxuriously and not taking life too seriously, Waka fits right in like the drunk uncle at a destination wedding.
Reviews of the song didn’t know what to do with him. While critic Anthony Fantano loved the adlibs in other Waka songs, in “CHAMPAIN & VACAY,” they made no sense from his POV.
Waka adds just enough chaotic energy to keep the song from melting into background music. However, it does make it harder to focus on what Scott and Toliver are rapping themselves, which earns him the eighth spot on our list.
9. 21 Savage on “KICK OUT”
Once upon a time, 21 Savage had a feature on JACKBOYS 2. Then the internet happened.
On “KICK OUT,” 21 Savage didn’t exactly drop a verse—he showed up to do some ominous ad-libs, sprinkled in between Scott’s verses like seasoning. Think: low, threatening murmurs like his signature insult “pussy” before doing a call and response with Scott the whole song. Classic 21 energy, but very minimal. He was basically the voice in Scott’s head… until he wasn’t.
Shortly after the album dropped, fans went in on 21’s appearance. Criticism flooded social media, with many calling the contribution “lazy,” “pointless,” and “worse than nothing.” The backlash was so loud that within days, Scott quietly removed 21’s credit from the track and scrubbed most of his ad-libs.
The moment became a meme, with fans joking that 21 got “kicked out of ‘KICK OUT’—which, if nothing else, is poetic.
21’s feature was barely there to begin with, and now it’s even less than that. Still, in its original form, there was a mood— dark, cold, threatening. Just not enough of one to survive the court of public opinion. The backlash, edits, and eventual erasure drop this one to ninth place in the rankings. RIP to the ad-libs.
10. Vybz Kartel on “PBT”
Look—we love a dancehall moment. Vybz Kartel on “PBT,” though? It just didn’t land the way it probably looked on paper.
Yes, that Vybz Kartel—the dancehall legend who was freed from prison last year. The verse itself has the typical talk about rocking “yuh bumper” and going to the best stores like Louis Vuitton. However, lacks the sharpness or presence fans might expect from someone with his legacy.
He delivers a few mellow bars, lightly skimming the beat (with plenty of airhorn), but never really connecting with it. Compared to Tyla’s breezy smoothness and Scott’s ambient vibe, Kartel feels like a last-minute add-on—and most people were over the track as soon as he came in.
There’s something cool about having Vybz Kartel on a Travis Scott album in 2025. But cool doesn’t always mean good. Kartel clocks in at number ten, not out of disrespect, but because someone had to finish last. And in an album full of unexpected moments, his verse just didn’t stick.
