The contemporary landscape of hip-hop has long valued patience, particularly within the ecosystem of independent and major-adjacent powerhouse labels where artists are permitted extended gestation periods between major releases. For fans of Tennessee-born rapper Isaiah Rashad, that waiting period is finally approaching its conclusion. The acclaimed Top Dawg Entertainment (TDE) and Warner Records artist has officially unveiled both the vibrant official artwork and the 16-song tracklist for his highly anticipated forthcoming studio album, It’s Been Awful. Scheduled for a commercial release on May 1, the project arrives nearly five years after the critical and commercial success of his 2021 full-length release, The House is Burning.
As the music industry continues to digest the initial rollout details, the revealed tracklist provides substantial insight into the sonic trajectory of the project. Clocking in at sixteen tracks, It’s Been Awful features a lean, highly curated roster of guest appearances. Among the most notable collaborations is "Boy in Red," a track that features fellow TDE superstar SZA. This inclusion marks the latest chapter in one of modern alternative R&B and hip-hop’s most enduring and critically lauded creative partnerships, bringing their total number of collaborative tracks to six. Beyond SZA, the album boasts contributions from alt-pop crossover force Dominic Fike—who appears on the track "Cameras"—and rising talent Julian Sintonia, who lends his vocals to "Do I Look High?".
The Evolution of a Long-Awaited Follow-Up
To understand the weight of It’s Been Awful, one must examine the timeline of Isaiah Rashad’s career arc under the TDE banner. Rashad initially captured the attention of the underground and critical establishment with his critically acclaimed 2014 EP, Cilvia Demo, a project that established his signature introspective lyricism, laid-back cadence, and unflinching vulnerability regarding personal struggles, substance use, and familial instability. He followed this with his proper debut studio album, The Sun’s Tirade, in 2016, which debuted in the top 20 of the Billboard 200 and solidified his status as a pillar of modern West Coast and Southern-influenced alternative rap.
However, the path to subsequent releases was complicated by personal hiatuses, industry pressures, and health battles. When Rashad returned in July 2021 with The House is Burning, the album debuted at No. 7 on the Billboard 200, featuring contributions from a diverse lineup including Duke Deuce, 6LACK, Smino, and Jay Rock. The project was widely praised for balancing high-energy regional anthems with heavy, soul-searching introspection.
Following the release cycle of The House is Burning, Rashad retreated from the public eye to conceptualize his next artistic phase. Whispers of a new project began circulating in late 2024 and throughout 2025, with industry insiders anticipating a tonal shift. The arrival of the promotional single "Same Sh!t" earlier this spring offered the first official taste of this new era, laying the groundwork for the album’s formal announcement in April.
Musical Influences and Artistic Direction
In a revealing interview with VICE conducted in the months leading up to the album announcement, Isaiah Rashad pulled back the curtain on the creative and sonic architecture driving It’s Been Awful. Rather than looking strictly within the contemporary hip-hop landscape for inspiration, the Chattanooga native looked outward toward genre-defying legends and boundary-pushing contemporary innovators.
Rashad cited iconoclastic funk and pop architect Prince—specifically noting that the track "If I Was Your Girlfriend" had been on repeat for months—as a primary touchstone for the emotional and structural intimacy of the new music. Furthermore, he highlighted the direct influence of genre-bending artist Fousheé, alongside underground Atlanta figures PLUTO and BunnaB, who helped shape the alternative textures of the record.
Most notably, Rashad pointed toward the sprawling, psychedelic, and eclectic sonic worlds pioneered by OutKast, specifically naming their landmark albums Stankonia and The Love Below as guiding lights for the project.
"I’m touching more [OutKast’s] Stankonia and The Love Below more than anything else," Rashad explained in the interview. He also expressed gratitude toward his label home, noting, "I would say Top [Dawg] made compromises for the creativity on this one, so I appreciate it."
Music journalists and industry analysts who have previewed details surrounding the recording process describe It’s Been Awful as a "sultry southern mix mixed with a deep sense of intimacy." Advance descriptions point to a rich pastiche encompassing twangy rock instrumentation, lush psychedelia, raw emotional vulnerability, and the deep, trunk-rattling basslines characteristic of Southern rap traditions.
Complete It’s Been Awful Tracklist
- The New Sublime
- M.O.M
- Same Sh!t
- Boy in Red (feat. SZA)
- Supaficial
- Scared 2 Look Down
- Happy Hour
- Do I Look High? (feat. Julian Sintonia)
- Ain’t Givin’ Up
- GTKY
- Cameras (feat. Dominic Fike)
- Act Normal
- 10 States Away
- Nuthin 2 Hide
- Superpwrs
- 719 Freestyle
Industry Implications and Cultural Impact
The release of It’s Been Awful on May 1 via TDE and Warner Records arrives at a pivotal juncture for both the label and the artist. For Top Dawg Entertainment, the project represents a major flagship release in a transitional era as the powerhouse imprint continues to expand its roster and define its next decade of cultural dominance. For Rashad, the album serves as a definitive test of longevity and artistic maturation, offering an opportunity to convert his fiercely loyal cult following into broader commercial resonance without sacrificing the vulnerable, bohemian aesthetic that defined his earliest work.
With a tightly edited guest list that balances established hitmakers like SZA with cutting-edge alternative voices like Dominic Fike, Rashad has positioned It’s Been Awful as an uncompromising artistic statement. As the industry prepares for the May rollout, anticipation remains high to witness how the Chattanooga auteur translates his eclectic blend of Southern funk, rock sensibilities, and confessional hip-hop into one cohesive, defining masterpiece.
