Dynamic Sound and Energy
Kendrick Lamar’s "Squabble Up," the second track on his surprise album GNX, hits with a chaotic energy that grips you from the moment it starts. The track opens with a hypnotic vocal sample that sets a cool, atmospheric tone, quickly transitioning into a bouncy, 80s beach-vibe beat. The dynamic shifts are immediate, plunging listeners into a fast-paced ride of punchy bars and experimental production. Kendrick's signature versatility is on full display, combining his breathy delivery with aggressive lines, giving the track a whirlwind feeling that keeps you on edge.
Anthemic Call and Response
The call and response section halfway through the song stands out as one of the most unique aspects of the track. Instead of using typical adlibs to hype up the energy, Kendrick orchestrates a chant-like exchange with an imaginary crowd. It creates a larger-than-life, anthemic moment that makes the song feel almost like an arena performance. The vocal layering here amplifies the intensity and gives the track a communal feel, with Kendrick guiding the energy like a conductor in full control of his audience.
Lyrical Mastery
Lyrically, Kendrick delivers his usual cleverness and complexity, with lines like "Mr. Get Off, I get off at my feet" that seem to mix introspection with a declaration of his unstoppable drive. He seamlessly integrates these deeper moments with more braggadocious, street-oriented bars like, "I got hits, I got bucks, I got new paper cuts," showcasing his mastery of blending the personal with the political. Each verse feels like a different chapter in a larger story, yet the transitions are so fluid that it never feels disjointed.
Experimental Production
The production itself is a wild mix of retro synths, pounding percussion, and subtle sample work, all tied together by Kendrick’s flawless flow. The post-chorus of “Squabble up” repeated over a minimalist beat builds an infectious rhythm, allowing the song to breathe before launching back into its hard-hitting verses. The track doesn't just sound good—it feels alive, full of tension and release, like a constantly shifting landscape that keeps listeners guessing.
A Standout Track on GNX
"Squabble Up" is an exhilarating ride that showcases Kendrick Lamar’s ability to experiment with sound and form. The song’s layered production, memorable call-and-response sections, and Kendrick’s intricate lyricism make it one of the standout tracks on GNX. It’s chaotic yet controlled, an anthem of rebellion and celebration that lingers long after the final beat fades out.
Listen to Kendrick Lamar Squabble Up
Kendrick Lamar Squabble Up Lyrics Meaning Explained
The meaning of Squabble Up by Kendrick Lamar is a declaration of resilience, self-assurance, and unapologetic dominance within the music industry. Throughout the track, Lamar reflects on his rise to prominence, his ability to overcome adversity, and his commitment to maintaining control over his legacy. The song serves as a response to both personal and professional challenges, with Lamar addressing detractors, celebrating his success, and reaffirming his position at the top. It blends themes of self-reliance, street credibility, and artistic integrity, all while offering a critique of the industry's superficiality and inauthenticity.
Intro: "God knows / I am reincarnated / I was stargazin' / Life goes on, I need all my babies"
The song opens with Lamar making a bold statement of survival and resurgence. The phrase “I am reincarnated” suggests a sense of resurrection, implying that even after being metaphorically “killed” in the eyes of some (especially his critics), Kendrick has reemerged stronger. The line “I was stargazin’” could refer to a time when he idolized and respected figures like Drake, but now that admiration has faded. He may have once looked up to them as "stars" in the industry, but his perspective has shifted over time. As for the line “Life goes on, I need all my babies,” it underscores his commitment to family and his ongoing drive for success. Lamar doesn’t dwell on the past; instead, he remains focused on what truly matters—his legacy and his loved ones.
Verse 1: "Woke up lookin' for the broccoli / High-key, keep a horn on me, that Kamasi"
Lamar’s reference to “broccoli” has a dual meaning. On the surface, it could refer to the vegetable, but in hip-hop culture, "broccoli" is often used as a slang term for weed, particularly because of the plant’s shape and color. In this case, Lamar could be alluding to his pursuit of growth and renewal, as “broccoli” is a symbol of both health and growth, especially in the context of his artistry. Lamar is constantly striving for self-improvement and is using his music as a platform to achieve that growth.
The phrase “High-key, keep a horn on me, that Kamasi” introduces the reference to Kamasi Washington, the celebrated jazz saxophonist who contributed to Lamar’s To Pimp a Butterfly. The saxophone, an instrument rich in emotion and expression, symbolizes Lamar’s creative genius. But the line also uses "horn" as a double entendre: while it could refer to the saxophone, it can also allude to a weapon, with "horn" being a slang term for a firearm. Lamar’s “horn” represents not only his artistic weapon but also his readiness to defend his legacy and confront his adversaries in the industry.
"IP, ownership, the blueprint is by me"
This line speaks to Lamar’s business acumen and his control over his intellectual property (IP). By mentioning “ownership,” he emphasizes the importance of artists maintaining control over their work and the blueprint for success. It highlights Lamar's self-sufficiency and autonomy within the music industry. He doesn’t rely on others; rather, he is the architect of his own success.
"Mr. Get Off, I get off at my feet"
This line is a clever play on words. “Mr. Get Off” can be interpreted as a dismissal of someone who has “missed the get-off,” meaning they’ve missed their opportunity or fallen out of favor. Lamar asserts his resilience by saying, “I get off at my feet,” meaning he stands tall and continues to rise, even when others doubt him. This is a direct rebuttal to critics who thought he’d fallen off.
"When I hear music, it makes me dance / You got the music, now is your chance"
These lines connect Lamar to his artistic roots and the power of music. Lamar has always viewed music as a form of expression, a way to articulate his emotions and experiences. Here, he’s telling the listener that music has the power to move him, both literally and figuratively. The call to action, “now is your chance,” could be directed toward anyone in the industry who has the opportunity to make a mark, challenging them to seize that moment.
"A yee nigga couldn't try me in the tri-state / Buddy pass, bet I get him splashed 'til he hydrated"
These lines portray Lamar’s confidence and street credibility. The phrase “A yee nigga couldn’t try me in the tri-state” signals that Lamar feels untouchable in his territory (the tri-state area). “Buddy pass” is a term used for a discounted or free ticket, but here it’s used metaphorically to suggest that even when given an easy pass or opportunity, Lamar can still make others pay the price. The phrase “splashed ‘til he hydrated” is a clever twist, implying that someone will be “doused” or “sprayed” with consequences until they’re left without options.
Chorus: "I feel good, get the fuck out my face / Look good, but she don't got no taste / I walk in, walked out with the safe / Mando, let me know what the play"
In this chorus, Lamar asserts his dominance and confidence. The line “I feel good, get the fuck out my face” signals that he’s feeling himself and doesn't want distractions. Lamar dismisses anything superficial or shallow with the line “Look good, but she don’t got no taste,” implying that appearances can be deceiving. He then goes on to show that he’s always moving with intention: “I walk in, walked out with the safe,” meaning that when he enters a situation, he’s in control and leaves with what he wants. The line “Mando, let me know what the play” suggests Lamar’s readiness to make moves and take action when the opportunity presents itself.
Verse 2: "What the fuck? / I got hits, I got bucks, I got new paper cuts"
Here, Lamar continues to flex his success and wealth. The mention of “new paper cuts” is a playful way of referencing the literal paper cuts one might get from handling money, underscoring the fact that he’s raking in cash. He has both the hits (musical success) and the wealth (financial success), and it’s clear that he’s earned both through hard work.
"I got friends, I got foes, but they all sitting ducks / Hit his turf and get crackin', double back like a deluxe"
This line suggests that Lamar has a complicated network of relationships. While he has friends, he also has enemies, but Lamar is unbothered. The phrase “sitting ducks” implies that those who oppose him are vulnerable and can be easily taken down. “Hit his turf and get crackin’, double back like a deluxe” is a reference to Lamar’s strategy of confronting his enemies head-on and then returning for a final, decisive victory.
"Fifty deep, but it ain't deep enough / Fuck a plea, there he go, beat him up"
Here, Lamar reinforces his intimidation and power. “Fifty deep” refers to a large group, implying that he’s always surrounded by people who have his back, but the line “but it ain’t deep enough” suggests that even a large number of people can’t intimidate him. The phrase “Fuck a plea” shows that Lamar is not interested in compromising or negotiating; he goes straight for what he wants.
"Fallin' from my money tree and it grow throughout the months / Spit a loogie at the camera, speed off, yeah, it's us"
The reference to the “money tree” is a direct callback to Lamar’s 2012 song Money Trees, where he explores the idea of wealth and the struggles that come with it. By saying that it “grows throughout the months,” Lamar suggests that his wealth is steadily increasing. The line “Spit a loogie at the camera, speed off, yeah, it’s us” is a nod to Tupac Shakur’s infamous incident of spitting at cameras in 1994, cementing Lamar’s admiration for Pac and his own rebellious, unapologetic image.
Post-Chorus: "Squabble up, squabble up"
The repetition of “Squabble up” throughout the song serves as a rallying cry. It could signify Lamar’s readiness for confrontation, both in the literal and figurative sense. He is ready to stand his ground, face any challenges, and continue his rise to the top.
Bridge: "Hol' up (Hol' up) / Where you from? (Where you from?) / My bitch (My bitch) / I'm finna go dumb (Finna go dumb)"
In the bridge, Lamar adopts a more aggressive tone. The line “Where you from?” could be challenging anyone who dares to question his dominance, asking them to identify their allegiance. He then declares he’s “finna go dumb,” signaling that he’s about to unleash his full energy and potential, going all out in whatever situation he’s in.
Verse 3: "Thunk, thunk, thunk, thunk, thunk, baby rockin' it"
This line likely refers to a rhythmic beat or flow, with “baby rockin' it” suggesting that Kendrick is controlling the rhythm and vibe. It also serves as a celebration of the moment, as Kendrick enjoys his position at the top.
"Quid pro quo, what you want? 'Cause I'm watchin' it / Work on the floor, let me know if you clockin' it"
Lamar critiques the transactional nature of the music industry, where everything is about exchange and what you can get in return. “Quid pro quo” (Latin for “something for something”) implies that he’s always aware of these dynamics and is keeping an eye on who’s trying to make moves at his expense.
"It was woof tickets on sale 'til I silenced it / Pipe down, young, these some whole other politics"
Lamar continues to call out the false bravado in the industry, saying that others were selling “woof tickets” (empty threats) until he stepped in and “silenced it.” He tells others to “pipe down,” urging them to quiet down because the stakes have gotten higher, and the game has shifted.
"Tell me why the fuck you niggas rap if it's fictional?"
Lamar is always quick to call out the inauthenticity in the rap game. He questions why certain rappers choose to fabricate their lives and personas when their authenticity is what makes them truly compelling. This line is a critique of the fake “gangsta” persona often adopted by rappers, urging them to stop faking their way through the industry.
"Tell me why the fuck you niggas fed if you criminal?"
This line questions the hypocrisy of individuals who glorify a criminal lifestyle but then play the victim or act as if they’ve been wronged. Lamar often uses his music to question the morality and authenticity of others, and this line adds to that theme.
Outro: "Ayy, Dot, can I get a drop? / I'm like, 'Nigga, nah'"
The outro features a brief exchange, where someone asks Lamar for a "drop" (a promotional shout-out), but Lamar dismisses the request, showing his nonchalant and unbothered attitude toward industry expectations. He’s in control and doesn’t feel the need to appease anyone.
Squabble Up Meaning:
Squabble Up is a dynamic and layered track that showcases Kendrick Lamar's unshakable confidence, his critique of the industry, and his personal growth. Through metaphors, references to hip-hop history, and a brash sense of individuality, Lamar cements his position as a dominant force in rap, always willing to confront and overcome any challenge that stands in his way.
Kendrick Lamar Squabble Up Lyrics
[Intro: Kendrick Lamar]
God knows
I am reincarnated
I was stargazin'
Life goes on, I need all my babies (Gyah, gyah)
[Verse 1: Kendrick Lamar & Debbie Deb]
Woke up lookin' for the broccoli
High-key, keep a horn on me, that Kamasi
IP, ownership, the blueprint is by me
Mr. Get Off, I get off at my feet
When I hear music, it makes me dance
You got the music, now is your chance
A yee nigga couldn't try me in the tri-state
Buddy pass, bet I get him splashed 'til he hydrated
Bounce out, know he spook town, eyes dilated
I got the money and the power both gyratin'
[Chorus: Kendrick Lamar]
I feel good, get the fuck out my face
Look good, but shе don't got no taste
I walk in, walked out with the safе
Mando, let me know what the play
[Verse 2: Kendrick Lamar]
What the fuck?
I got hits, I got bucks, I got new paper cuts
I got friends, I got foes, but they all sitting ducks
Hit his turf and get crackin', double back like a deluxe
Fifty deep, but it ain't deep enough
Fuck a plea, there he go, beat him up
Fallin' from my money tree and it grow throughout the months
Spit a loogie at the camera, speed off, yeah, it's us
[Chorus: Kendrick Lamar]
I feel good, get the fuck out my face
Look good, but she don't got no taste
I walk in, walked out with the safe
Mando, let me know what the play
[Post-Chorus: Kendrick Lamar]
Squabble up, squabble up
Squabble up, squabble up
Squabble up (Mm, mm), squabble up (Mm, mm)
Squabble up (Mm, mm), squabble up
[Bridge: Kendrick Lamar]
Hol' up (Hol' up)
Where you from? (Where you from?)
My bitch (My bitch)
I'm finna go dumb (Finna go dumb)
Sideways (Sideways)
Bunk skunk (Bunk skunk)
Fever (Fever)
I'm on one (I'm on one)
[Verse 3: Kendrick Lamar]
Thunk, thunk, thunk, thunk, thunk, baby rockin' it
Quid pro quo, what you want? 'Cause I'm watchin' it
Work on the floor, let me know if you clockin' it
Brodie won't go, but I know that he poppin' it
It was woof tickets on sale 'til I silenced it
Pipe down, young, these some whole other politics
Bitch with him and some bitch in him, that's a lot of bitch
Don't hit him, he got kids with him, my apologies
Ghetto child, it was Black & Milds with the Smirnoff
Yeehaw, we outside, whoadie 'bout to kill him off
Blaps on blaps, it's a fact, this a brick of raw
Tell me why the fuck you niggas rap if it's fictional?
Tell me why the fuck you niggas fed if you criminal?
"Ayy, Dot, can I get a drop?" I'm like, "Nigga, nah"
Ace boon coon from the Westside to Senegal
It's a full moon, let the wolves out, I been a dog (Ah)
[Chorus: Kendrick Lamar]
I feel good, get the fuck out my face
Look good, but she don't got no taste
I walk in, walked out with the safe
Mando, let me know what the play
[Post-Chorus: Kendrick Lamar]
Squabble up, squabble up
Squabble up, squabble up
Squabble up (Mm, mm), squabble up (Mm, mm)
Squabble up (Mm, mm), squabble up