If you’ve spent any real time in the Brooklyn drill scene, you already know that Sheff G isn’t just an artist — he’s an institution. Since emerging out of Flatbush around 2017, Sheff G has carved out a lane that blends ice-cold delivery with emotionally raw lyricism, a combination that the streets and the streaming platforms have both rewarded heavily. Whether you’re catching him on headphones during a late-night drive or bumping his catalog at full volume, his music hits differently. The best songs of Sheff G span a range that few Brooklyn rappers can claim — from stripped-down street reflections to atmospheric drill productions that feel cinematic in scope.
This isn’t a casual listen-through list. This is a deep dive into the records that actually matter, drawn from across his discography including THE UNLUCCY LUCCY KID (2019), One and Only (2020), Proud Of Me Now (2020), From The Can (2022), and beyond. Let’s get into it.
Weight On Me
From One and Only (2020), “Weight On Me” stands as perhaps the most vulnerable record Sheff G has ever put to tape. The production is hazy and introspective — a slow-rolling beat with layered synths that feel like they’re pressing down on your chest. Sheff’s delivery here is measured, deliberate, every word landing with the weight of someone who’s seen too much. Lyrically, it explores survivor’s guilt and the psychological toll of street life with a directness that few drill artists are willing to commit to on record. It’s the kind of track that hits hardest on headphones when you’re alone, and it’s why listeners keep coming back to it years after its release.
No Suburban, Pt. 2
Also off One and Only (2020), “No Suburban, Pt. 2” expands on the themes of its predecessor with sharper pen work and a more confident delivery. The beat is quintessential Brooklyn drill — hi-hats stuttering, bass sliding beneath a minor-key melody that keeps things tense and dark. What makes this record stand out is how Sheff weaves together specific imagery with broader reflections on loyalty and survival. The sequencing and callback structure show real songwriting maturity. It’s one of those drill records that plays just as well on a dedicated listen as it does on shuffle.
We Getting Money
Off THE UNLUCCY LUCCY KID (2019), “We Getting Money” is one of Sheff G’s earliest statements of intent. The production is punchy and direct — driving 808s and a hooky melodic loop that sticks long after the track ends. His vocal approach here blends melodic singing and rapping in a way that would go on to define the Brooklyn drill aesthetic more broadly. It’s an unapologetic celebration of come-up energy, and the rawness of the recording only adds to its authenticity. For anyone tracing how Sheff G developed his sound, this is an essential early chapter.
Listen
From From The Can (2022), “Listen” is a record that demands exactly what the title says. Sheff G brings a conversational, almost confessional energy to his flow, riding a production that’s more spacious and atmospheric than his earlier work. The mix is clean and professional, which lets every lyrical detail come through with clarity. He addresses trust, betrayal, and street politics with a specificity that makes it feel like you’re being let into a very personal conversation. Songs like this are why exploring the broader landscape of underground rap and drill music always leads back to Sheff G as a defining voice.
Run It Up
Also from From The Can (2022), “Run It Up” is the record you play when you need something with momentum. The beat construction here is aggressive without being cluttered — tight percussion, heavy bass, and a menacing chord progression that keeps the energy elevated from start to finish. Sheff’s delivery is locked in and precise, and his cadence shifts throughout keep the listening experience dynamic. This is drill music functioning at its mechanical best: every element in service of the energy the track is trying to project.
Everything Lit
From Proud Of Myself (2024), “Everything Lit” signals a matured version of Sheff G who hasn’t abandoned his roots but has clearly refined his sonic palette. The production has a brighter energy compared to some of his darker earlier records, and his vocal performance feels looser and more confident. There’s a celebratory quality to this record that feels earned rather than performative — this is an artist who has built something real reflecting on where he stands. The mastering quality on this record is noticeably crisp, making it an excellent showcase for what good headphones can reveal in a modern drill production.
No Remorse
From From The Can (2022), “No Remorse” lives up to its title from the first bar. The beat is cold and minimal — space used deliberately so that Sheff’s words land with maximum impact. His lyricism here is particularly sharp, cutting through any ambiguity about where he stands and what he’s seen. There’s a controlled aggression in his vocal delivery that makes this one of the most commanding performances in his catalog. It’s the kind of record that earns repeat listens not because of a catchy hook, but because the conviction in the delivery keeps pulling you back.
Tip Toe
Off Proud Of Me Now (2020), “Tip Toe” leans into the melodic side of Sheff G’s artistry without softening its edge. The production balances atmosphere and aggression — layered synths over crisp trap drums — and Sheff rides it with a vocal approach that blurs the line between singing and rapping in the most effective way. The hook here is genuinely catchy, the kind that embeds itself in your head after a single listen. This record speaks to the moment when Brooklyn drill was beginning to assert itself on a national level, and Sheff G was at the center of that wave.
Flows
From THE UNLUCCY LUCCY KID (2019), “Flows” is a record that does exactly what its title implies — it showcases Sheff G’s approach to cadence, rhythm, and phrasing with a looseness that still manages to feel controlled. The production is lo-fi and gritty in the best early-drill tradition, and Sheff’s performance feels exploratory in a way that his later, more polished work sometimes doesn’t. There’s a rawness to the recording that makes it feel like a document of a specific moment in time, and that authenticity is part of what makes it a fan favorite.
On Go
Also from From The Can (2022), “On Go” is a high-energy record with a beat that hits like a statement. The production here is lean and mean — not a wasted element anywhere — and Sheff delivers one of his more aggressive vocal performances on this track. It’s built for specific moments: the kind of thing that comes on and immediately shifts the energy in a room. The sequencing of his punchlines and the way he handles his breath control throughout the verse structures show real craft underneath the surface intensity.
Flows, Pt. 2
From THE UNLUCCY LUCCY KID (2019), “Flows, Pt. 2” takes the skeletal approach of its predecessor and adds just enough additional texture to feel like a genuine evolution rather than a retread. Sheff’s delivery is more assured here, and the beat — darker and slightly more complex — gives him more room to work with. The record demonstrates early on that Sheff G understood the value of building on his own mythology, a skill that would serve him well across multiple project runs.
Break From It
From From The Can (2022), “Break From It” is one of Sheff G’s most emotionally resonant recent records. The beat creates a mood of contemplation — atmospheric and layered — while Sheff explores the mental and emotional fatigue that comes with his lifestyle. His vocal delivery here is softer than his harder records, which makes the honesty of the lyrics land even harder. It’s a reminder that the best drill music has always been about more than surface-level aggression — it’s rooted in real human experience.
Feel Ah Way
From THE UNLUCCY LUCCY KID (2019), “Feel Ah Way” is a standout from his debut project for its willingness to sit in emotional ambiguity. The production is moody and atmospheric, built around a minor-key loop that sets an almost meditative tone. Sheff explores feelings of paranoia, loyalty, and the emotional cost of street life with a lyrical specificity that makes the record feel deeply personal. This is the kind of track that rewards careful listening on quality earbuds where the subtle background elements in the mix come fully to life.
Bad Breed
From From The Can (2022), “Bad Breed” is Sheff G in full street-rap mode, and it’s compelling from start to finish. The production is aggressive and driving, built for maximum impact, and his delivery matches the energy of the beat without ever feeling like he’s straining. The lyricism here is pointed and specific, using detailed imagery to paint a portrait of where he comes from and what shaped him. It’s a record that doesn’t ask for your sympathy — it just asks you to understand.
Kiss Ya Neck
From From The Can (2022), “Kiss Ya Neck” shows a different side of Sheff G’s range, softening the temperature just enough to reveal the melodic sensibility that’s always lurking beneath his harder records. The production is smooth and layered, with a warmth that contrasts nicely against the harder material on the same project. His vocal performance here is relaxed and confident — the sound of someone comfortable enough in their artistry to switch lanes without losing their identity.
Moody
From One and Only (2020), “Moody” is exactly what its title promises. The beat is heavy with atmosphere — slow, deliberate, cinematic — and Sheff G matches its energy with one of his most composed vocal performances. The record explores emotional unpredictability with a self-awareness that’s disarming, and the production craftsmanship is excellent with every element of the mix working in service of the overall mood. This is a record that sounds best late at night, and it cemented One and Only as one of the stronger entries in his catalog.
Drum Dummy
From From The Can (2022), “Drum Dummy” is a record that rewards attention to the technical side of Sheff G’s artistry. His cadence work here is some of the most intricate in his catalog — navigating complex rhythmic patterns while maintaining the cool, measured delivery that defines his style. The production is tight and engineered for maximum impact, with drum programming that gives the track its infectious momentum. It’s a record that demonstrates the technical craft underneath what can sometimes look, from the outside, like effortless cool.
Lights On
From Proud Of Me Now (2020), “Lights On” has the energy of someone stepping into their moment. The production is bright and assertive compared to some of his more atmospheric work, and Sheff’s delivery reflects that — there’s a directness and confidence here that feels earned. The hook construction is strong and memorable, and the verses build on its energy rather than retreating from it. It’s one of the more radio-friendly productions in his catalog without ever feeling like a concession or a compromise.
PICASSO
From Just 4 Yall (2020), “PICASSO” is a record built around the idea of artistic legacy and self-worth. Sheff G uses the iconic painter as a metaphor for his own creative output, and the ambition of the concept is matched by the execution. The production is lush and layered — more sonically adventurous than his typical drill fare — and his performance reflects the elevated material. It’s a record that suggests Sheff G thinks seriously about his place in the broader artistic conversation, not just the street-rap lane.
No Surburban
From his 2017 project No Surburban, this record is essential listening for anyone who wants to understand how Sheff G got here. The production is raw and early-era Brooklyn drill — lo-fi in a way that feels authentic rather than affected — and his delivery has the hunger of an artist who hasn’t yet proved what he can do but absolutely knows he’s going to. Listening back to this after exploring his later catalog is a striking experience: the DNA of everything that would follow is already fully present. It’s a genuine piece of Brooklyn rap history.
Frequently Asked Questions
What genre does Sheff G make?
Sheff G is a Brooklyn drill artist. His music is rooted in the drill subgenre of hip-hop that originated in Chicago and was adapted by New York artists — particularly those from Brooklyn — into a distinct sound characterized by sliding 808 bass, minor-key melodies, and hard-edged lyricism. Sheff G is considered one of the defining voices of the Brooklyn drill movement alongside artists like Sleepy Hallow, with whom he has frequently collaborated.
What is Sheff G’s most popular song?
Weight On Me is consistently cited among his most beloved records by fans and critics. It combines the emotional vulnerability and atmospheric production that defines his best work, and it has maintained strong streaming numbers since its 2020 release on One and Only. No Suburban Pt. 2 and Tip Toe are also frequently listed among his most-played tracks.
How many studio projects has Sheff G released?
Sheff G has released several notable projects including No Surburban (2017), THE UNLUCCY LUCCY KID (2019), One and Only (2020), Proud Of Me Now (2020), Just 4 Yall (2020), From The Can (2022), and Proud Of Myself (2024), among others. His output has been consistently strong across these releases, with each project adding new dimensions to his artistry.
Is Sheff G from Brooklyn?
Yes. Sheff G is from Flatbush, Brooklyn, New York. His music is deeply rooted in the experience of growing up in that neighborhood, and the Brooklyn drill movement he helped pioneer is closely tied to its streets and communities. His geographic identity is central to both his lyrical content and his cultural significance.
What makes Sheff G’s style unique compared to other drill artists?
Sheff G stands out for his ability to blend melodic sensibility with hard-nosed street lyricism in a way that feels natural rather than calculated. While many drill artists lean fully into either the melodic or the aggressive end of the spectrum, Sheff operates fluidly across both, often within the same song. His willingness to express emotional vulnerability while maintaining credibility as a street voice is rare in the drill genre and is a major reason his music resonates so broadly.