"PHILLY," a high-octane collaboration between Playboi Carti and Travis Scott, is a sonic flex-fest that fuses their signature sounds into a whirlwind of excess, swagger, and regional shoutouts. With no confirmed release date provided but assumed to align with Cartiâs 2025 vibe (like "POP OUT"), this track is a celebration of hedonism and hustle, wrapped in a beat that feels like a nitrous-boosted joyride. From Travisâs hypnotic chorus to Cartiâs feral verse, "PHILLY" is less a song and more a lifestyle manifestoâunapologetic, chaotic, and dripping with charisma.
Travis Scott kicks things off with a chorus thatâs as catchy as it is brazen: âBrand-new ass and brand-new nose, letâs go / Bend it over, touch your toes, thatâs go.â Itâs a mantra of transformation and indulgence, where cosmetic upgrades and physical feats signal readiness for the game. The repetition of âletâs goâ and âthatâs goâ drives the rhythm like an engine revving, while âFifty big ones on the floorâ and âLamboâ truck or SRTâ stack the imagery of cash and carsâclassic trap trophies that scream wealth without apology. The âskrrt, skrrtâ ad-libs punctuate it all, a sonic tire screech that keeps the momentum relentless.
This isnât just flexing for flexingâs sakeâitâs a blueprint for the world Travis and Carti inhabit, where everythingâs new, fast, and disposable. The chorus sets the tone: no introspection, just motion. Itâs a hypnotic hook that doubles as a call to arms, inviting listeners to join the high-speed chase.
Travisâs verse dives into a kaleidoscope of drugs, women, and regional flair. âSeeinâ red on my cup, Iâm seeinâ red / She off that white, Iâm rollinâ greenâ paints a vivid tableau of lean, cocaine, and weedâa tricolor palette of excess thatâs become his lyrical signature since "Rodeo." The line âPhilly bitch, keep it a beanâ nods to Philadelphiaâs slang for honesty, grounding the songâs title in a cultural wink, while âAtlanta bitch, a magic sheep, thatâs goatâ flips to his Southern roots with a playful twistâmagic sheep as a GOAT (greatest of all time), a quirky metaphor thatâs pure Travis eccentricity.
He keeps the regional tour going with âCaliâ type to give you mop, thatâs top,â suggesting a West Coast girl whoâs top-tier in her game, while âSeen her turn a bunch of rocks to snotâ flips the drug trade into a graphic, almost comical image of transformation. Travisâs self-descriptionââMakinâ hip-hop look like rock, Iâm Jacquesââis a nod to his genre-blending persona (Jacques being his birth name, Webster), tying his rockstar flair to influences like Kid Cudi or Kanye. The verse flows with a loose, stream-of-consciousness vibe, less about tight rhymes and more about painting a psychedelic picture of his orbit.
Thereâs a defiance in âAinât really goinâ back and forth, thatâs that,â a refusal to engage in petty disputes, paired with the camaraderie of âSip purple with me, we screwedââa shared lean ritual that bonds him to his crew. Itâs Travis at his most vibey, turning excess into a communal art form.
Playboi Carti storms in with a verse thatâs pure feral energy, amplifying the trackâs chaos while asserting his dominion. âDiamonds all over my body / Molly all over my bodyâ sets the sceneâheâs a walking constellation of wealth and drugs, a living embodiment of the trap aesthetic. âMy face is all in exoticsâ could mean rare cars or a face tattoo flex, but either way, itâs Carti reveling in his otherworldly allure. The line âI canceled one of my fly listsâ suggests heâs shedding baggageâmaybe women, maybe oppsâto soar higher, âgeeked in the sky like a pilot.â
His imagery gets wilder: âI got ten cars outside the palace / And the Skeleton all white, Bentleyâ conjures a royal fleet, with the âSkeletonâ likely a skeletal-painted Bentley, a nod to his gothic-leaning style. âIf you scared, go to church, lilâ bitch, we outside tweakinâ, rollinâ off the jelliesâ is peak Cartiâdismissing the timid while embracing the ecstasy-fueled edge of his lifestyle. The shoutout to âF1LTHYâ (producer FILTHY, a frequent collaborator) and âEverythinâ upside down, shout out Phillyâ ties the trackâs disorienting vibe to its namesake city, flipping reality into a Carti-fied fever dream.
Violence creeps in with âIn the car with two blickies and they both got tittiesââguns with extended clips, personified with a smirkâwhile âI place one in your head, Iâm tryna hawk âemâ and âHe canât post âcause he deadâ deliver a cold, casual menace. Itâs a reminder that Cartiâs chaos isnât just performative; itâs a survival tactic in a world where threats lurk. Yet lines like âI got a Ghost on my leg, Iâm ready to bopâ (a Rolls-Royce Ghost tattoo or car reference) keep it playful, balancing lethality with swagger.
The interplay between Travis and Carti is the trackâs heartbeat. Travisâs verse is a kaleidoscopic warm-upâcolorful, vibey, and expansiveâwhile Cartiâs is a Molotov cocktail, raw and explosive. Their styles complement without overlapping: Travis paints the scene, Carti burns it down. The chorus, all Travis, acts as a glue, its hypnotic repetition giving Cartiâs chaos a frame to shatter. Itâs a testament to their chemistry, honed through past collabs like "Love Hurts," but pushed further into 2025âs boundary-blurring rap landscape.
Culturally, "PHILLY" sits at the crossroads of their influencesâTravisâs Houston slow-simmer meets Cartiâs Atlanta freneticism, with a nod to Phillyâs grit. The trackâs 2025 context (assumed) places it in a hip-hop era where excess remains king, but Carti and Travis twist it into something futuristicâless about street cred and more about crafting a mythos. The âbrand-new ass and noseâ flex feels like a wink at the Instagram age, where reinvention is currency, while the car and drug references keep it rooted in trapâs gritty lineage.
"PHILLY" isnât deep in the philosophical senseâitâs about velocity, not reflection. Its artistry lies in its relentless drive, the way it turns excess into a pulse you can feel. Travisâs chorus is the engine, Cartiâs verse the nitro boost, and together they create a track thatâs all âgoââno brakes, no regrets. Itâs a snapshot of two artists at their peak, flexing not just wealth but the ability to bend reality to their will. In their world, Philly isnât just a cityâitâs a state of mind, upside down and lit as hell.