Future’s ‘The Real Me’ Album: All 22 Tracks Ranked

“Cast a Spell” could have used a better vocal approach. The high-pitched, almost falsetto delivery over this particular beat feels disjointed. Had he utilized a melodic tone akin to what he did “Fresh Air” or “Love You Better,” we could be having a different conversation. We don’t see ourselves going back to this one much.

“2018” is one of the weirdest songs Future has ever made, but it’s nice to see him trying new things. The production is pretty stripped down, leaving plenty of room for him to get off unique flows and a vocal tone he rarely taps into. It is smack in between him doing a falsetto, but also screeching? It is truly hard to define what exactly this song is, but it isn’t terrible. However, it has to fall low on these rankings when compared to what else is on the album.

“Build A B–ch” is a bit of a let down. It felt like Future was lulling us to sleep to set up for a sonic climax, and the song just never hit another gear. The beat is fine, and his variety of flows keeps you engaged, but ultimately, we walk away from the record saying, “Oh that’s it?” It had so much potential, between the title and the expectation that some drums would eventually kick in. This song should be taken back to the drawing board.

“Weight Up” features the calm, raspy-voiced Future that has contributed to some of the fan-favorite tracks throughout his catalog. This one, though, lacks the luster of what he has done in the past. He almost sounds too uninterested in what he is rapping about. And while the production is fine, there’s no true X-factor here to put this song over.

“Money Over Everything” is the quintessential Future starter-pack record: animated delivery, trap beat, common synths and repetition. It doesn’t set itself apart from a lot of the songs on the album to feel like it needs to be here, but it isn’t bad either. It is a reliable go-to for a guy that has made so much music over the course of his career. 

“Off the Hinge” is aggressively fine. Much like “Money Over Everything,” it feels like a “break glass in case of emergency” type of Future song. It isn’t a bad song, but there is no true spark to it. He has made countless better versions of this before.

“Big Moment” is another song that Future diehards will likely love, but people who want to hear something different will perhaps feel bored by. Again, the song is good, but he has done this so many times. At this stage of his career, we just want to hear cool contributions to his catalog instead of attempts to recapture the highs he has already produced. This song is devoid of an “it” factor, but it is nowhere near bad.

“Hollywood” is the most ambitious track on this album. It sounds like a song that would be available to perform to on a Dance Dance Revolution arcade. Future uniquely decides to have a linear delivery as opposed to matching the beat and its variations throughout the nearly three-minute song, but it works. This is a solid offering and a reminder of how versatile he is.

“Radio” is a layered record. Future repeatedly claims the song and its contents aren’t fit for the radio, yet sonically and BPM-wise it is a very radio-friendly track. On top of that, it is the album’s lead single and it is literally titled “Radio.” He’s making a joke and inviting us in. As for the actual music, everything is firing on all cylinders: the hook, the verses, the production. It is very safe, but it works and shows Future can do the traditional commercial music any time he wants, despite the fact he has turned his dark pain music into a commercial genre on its own. 

“Trench Coat” has an insane beat. It plays like one of his previous Drake collaborations, where Future would command the second half of the record after a beat switch. It’s very high-energy, and his vocal inflections meet that mark as well. The only bad thing here is that once we really settled in, the 1:46-long song was already over. Shorter doesn’t mean bad, though — it just means this will have high replay value.

Hendrix does not allow this beat to breath, with minimal down time between his lines. And when it seems like he is finally going to take a pause toward the end of the song, he jumps right back in with some of his classic newly-created words that mean nothing but everything at the same time. We’d love to know what happened to Future that day and why it seemed like he had a mission when he got into the booth, but we’re thankful nonetheless, because it lead to a great record.

“Tank Top Pluto” is a nice jolt of energy, considering its placement on the album being after two more mellow records. It is also needed; every Future album has that one song where the hook is him repeating one phrase over and over in between going Super Saiyan on the verses. And these particular verses are arguably some of his best rapping on the project. This will likely be the one people play on repeat in their cars all weekend.

“Fukk a Interview” has a really strong beat and signature Future rap flow. It feels like a traditional intro song from the legendary rapper, with its cinematic production and a specific mission statement. Here, he denounces doing media because throughout his career he has always preferred to tell his story through the music. With that being the case, “Fukk A Interview” works well as the proverbial “chapter one” of this era of his career.

“California Girls” is one of the softer records on the album, which makes sense, because Future dedicates the track to women from California, Atlanta, Cape Town, Italy and United Kingdom. His melodic delivery here is especially animated, conveying a sense of yearning. Ultimately, the 42-year-old artist is positively reflecting on experiences he has had with this diverse array of women — thus, allowing his vocals to take the lead and opting for softer drums was an astute choice.

“Alice” has a West Coast flavor to it, and is another one of the more dance-friendly songs on the LP. He does some really cool things with his voice and filters, on top of using a fun flow. This will likely be jarring for his core fans, but this song has real crossover hit potential.

“Kick” is what it’s all about. The production has all of the bells and whistles of a Future hit, and his haymaker delivery meets the moment. In between verses, he fills space with unintelligible mutterings, which recalls 2024’s Mixtape Pluto standout “Plutoski.” However, this is much more enjoyable than whatever he was doing on that song. “Kick” is primed for the car test.

Future may not get discussed enough as one of the best outro artists of his generation. “Eye to Eye” isn’t “Tricks on Me,” or “Feds Did a Sweep,” but it is very strong. He is contemplative, introspective, assertive and energetic. We also appreciate the choice to not have a hook on this one, further pushing the point that he had thoughts he wanted to get off and was more focused on doing that than creating a hit. It’s sometimes the records that don’t feel intended to go up that end up doing so, and this one could very well do that.

The Atlanta kingpin opens “No Misery” by lifting a snippet of André 3000 discussing how he makes “pain music,” emanating from his 2019 Apple Music documentary for his LP The Wizrd. From there, he gets into one of the most immersive beats on the album. The choice for his voice to sound distant is interesting, as is the contrast between the mood of the song and his lyrics, on top of the title. He sounds miserable, but he affirms to himself that no one can please an unnamed baddie more than he can. Is he trying to convince us or himself?

“Snow In Skyami” was hotly anticipated, as it leaked on the internet a little over a year ago. The final product met expectations, carrying a vintage Future cadence and aura. He loves nodding to a specific city, especially Miami, and how he makes the women of that specific location feel. There isn’t much to say here, this is simply a banger.

The “One Two” chorus interpolates the popular English nursery rhyme “Buckle My Shoe,” though Future was clearly more inspired by the Nightmare On Elm Street adaptation. The production captures that horrific record, dedicated to Freddy Krueger, and his deeper tone matches the energy, making this an overall hauntingly beautiful track. We wish the song were a bit longer, but Hendrix has mastered these efficient offerings. Beggars can’t be choosers.

“Feeling I Give” is Future villainously acknowledging his powers. Because, in truth, no artist could truly replace the feeling he has given us, and surely he feels the same way about he has affected the women in his life. The production opens slowly and downtempo before jumping into something dance-ready towards the middle, settling into a dark trap pocket, and then going right back to a dance jam. It plays like a song they really took their time with, and the effort shows. Really great work here.

Future dreams of ruling the universe on “If I Could.” His vocals evoke a somber feeling, and the lyrics match. He wishes he could free his homies, reflects on his late grandmother, and many other relatable feelings. All of this takes place on a mid-tempo beat, giving him the space to be the vulnerable guy we’ve grown to love over the years. If people were seeking a statement performance from Pluto, this is it.