A bloated 26-track marathon where stellar production and a few nostalgic highs are buried under erratic performances and filler

Released June 12, 2026

Bill Kapri, aka Kodak Black, has had a tumultuous journey as an artist, to say the least. From legal issues and controversial statements to presidential pardons and admitted substance abuse struggles, it’s hard to imagine the rapper is still only in his 20s. That being said, he has managed to consistently drop music for the most part, with 2026’s Kodak the Blessing being his latest effort. As someone who thought 2025’s Just Getting Started was actually a pretty decent listen, I came into this project hoping Kodak could build upon that momentum, despite the artist’s not-so-glowing public appearances lately. Needless to say, I was more than disappointed with this overly lengthy project; it has a few high points, but way too many low lows.

Firstly, there is probably a pretty good 12-song project hidden inside this album—the problem is that it’s a 26-track release. One thing Kodak can always hang his hat on, though, is that the man definitely has an ear for beats. This project is no exception in that department. Even on the title track, “Blessing,” where the artist sounds a bit incoherent at moments, the production carries the song. In fact, the first half of the album delivers some nostalgic Kodak, offering melodic moments mixed with thumping beats, alongside surprisingly strong features from 1900 Rugrat on “Nunchucks” and Albee Al on “Peter Roll.”

Starting at “Running It Up,” however, the album takes a nosedive that unfortunately makes the second half a chore to listen to. Furthermore, knowing the rapper’s history with addiction, there are times the album straddles an awkward fence between decent music and a cry for help, coupling drug-use rhymes with heavy, introspective moments.

As mentioned previously, the features overall are a mixed bag. While Albee Al and 1900 Rugrat showed up on their respective tracks, G Thugg also shined on “Move,”which is easily one of the best tracks on the project, and Shadea Charai beautifully laced the hook on “Thunder Baby.” That being said, “Better or Worse” featuring Fridayy is run-of-the-mill, overproduced, Auto-Tuned fare. Yet, even that pales in comparison to whatever Reese Youngn was trying to accomplish on “Handling the Death.” The best way I can describe his performance is “ghetto yodeling,” delivered with an almost comical voice effect and an exaggerated emo-trap flow. It is a track I never care to hear again, which is a shame because the beat itself is an absolute banger.

Overall, regardless of how you feel about his style or his chaotic personal life, Kodak Black is a talented artist who seems to be mired by personal demons that undoubtedly affected the quality of this latest offering. Hopefully, things can be cleaned up before we get another release from the Florida artist. While a few moments highlight why he was one of the most exciting bubbling artists at the tail end of the Blog Era, as a full body of work, Kodak the Blessing leaves much to be desired.

Album Rating: 👑👑👑👑🔸(4.5/10)

Standout Tracks: Blessing, Move, Thunder Baby, Nunchucks, Peter Roll, Loitering, Bodymore Murdaland