There is a particular kind of magic that happens when you put on a Cash Cobain track and suddenly every inch of your body wants to move in ways you didn’t plan for. Cashmere Lavon Small — born March 31, 1998, in the South Bronx and raised between the Bronx and Jamaica, Queens — has engineered something genuinely new in hip-hop. As the architect of what the world now calls “sexy drill,” he fused the bounce-heavy pulse of Jersey club music with soulful R&B samples and lightly punchy kick drums, trading icy aggression for warm, unabashedly romantic energy. His producer tag — “This beat from Cash, not from YouTube” — has become one of rap’s most recognizable signatures, even as he continues to rip samples directly from YouTube and bend them into something unrecognizable and irresistible.
By 2024, his debut studio album Play Cash Cobain landed on the Billboard 200 and earned an 81 Metacritic score, with Rolling Stone calling it a blueprint for a new kind of rap-R&B crossover. That’s not an accident. It’s the result of years of building his Slizzy movement brick by brick. Whether you’re hearing these tracks on headphones late at night or blasting them through car speakers on a summer Friday, the Cash Cobain experience is something you feel before you fully understand it. If you love exploring great music across genres, check out more discoveries over at GlobalMusicVibe’s songs section for a wider musical universe.
Here are the 20 best Cash Cobain songs that every Slizzy convert needs in their rotation — ranked, analyzed, and celebrated.
Fisherrr
If there’s one track that catapulted Cash Cobain from tri-state cult figure to national conversation, it’s “Fisherrr.” Originally released as a February 2024 single featuring Bay Swag, the Ice Spice remix dropped in April and gave the track the extra burst of star power it needed to become inescapably everywhere. Racking up over 77 million streams, the song became the defining anthem of the Summer of Slizzy — a groove so contagious it almost felt like a public health event.
The production is quintessential Cash: a buoyant, chopped R&B sample riding on bouncy kick drums that hit like a gentle nudge to the dance floor. Ice Spice and Bay Swag’s deliveries complement each other perfectly, but it’s the underlying beat that makes this undeniable. Listening to it on headphones, you catch every layer — the way the bass pulses beneath the sample like a heartbeat, the snap of the hi-hats keeping everything playful and light. This is the song that earned Cash Cobain his XXL Freshman nod and his BET nominations for Producer of the Year and Best Breakthrough Hip-Hop Artist.
Rump Punch
Released June 7, 2024, as the third single ahead of Play Cash Cobain, “Rump Punch” is everything Cash does best distilled into three and a half minutes of pure, unfiltered fun. By the time this dropped, the anticipation was already at a boil — and the track delivered with that signature blend of raunchy lyricism and a beat so melodically rich it almost sounds sweet. The production leans into lush, sun-drenched textures, making it the kind of song that belongs on a rooftop in July with nowhere to be.
What separates “Rump Punch” from a typical drill cut is precisely how joyful it sounds. Cash’s flow here is effortlessly melodic, and the track accumulated 37 million streams, proving the formula was working at full scale. The mix is deceptively clean — every element sits right where it should, giving the beat room to breathe while keeping the energy bouncing. It’s a statement track and one of the clearest examples of why his sound hit so differently from anything else in the New York scene.
All I Wanna Hear
“All I Wanna Hear” is one of the tracks Cash referenced when positioning himself as the Slizzy Kanye — a bold comparison, but one that makes more sense the more you listen to his production approach. The song showcases his ability to creatively interpolate classic R&B in a way that feels like reverence rather than appropriation. The sample work here is particularly intricate, threading a melodic hook through the beat so seamlessly that you almost forget where the original ends and Cash’s vision begins.
Pitchfork described his self-produced beats as carrying a foggy R&B sample warmth that adds longing to his nonstop raunchiness, and “All I Wanna Hear” is one of the cleaner examples of that dynamic. It’s a track that rewards careful listening — the more attention you pay, the more detail you notice in the layering. It also demonstrates why Cash has become such a sought-after producer beyond his own work, because the instincts on display here are genuinely rare.
Dunk Contest
Dropped January 29, 2024 as the album’s lead single, “Dunk Contest” was the official opening shot of Cash Cobain’s commercial era. The track lists off his desires with the confident, playful swagger that defines his persona — he’s not threatening, he’s charming, and that distinction is everything. The beat is wiry and infectious, built around a sample flip that somehow manages to feel both vintage and completely contemporary.
A remix titled “Grippy” featuring J. Cole followed in May 2024 and reached 19 million streams, which says everything about how much credibility Cash had already accumulated. On headphones, “Dunk Contest” is a study in minimalist production done right — the spaces between sounds are as important as the sounds themselves. It moves like something alive. The track also stands as a testament to Cash’s skill as both rapper and producer: he’s doing both jobs simultaneously and making neither look like work.
Cantsleep/Drunkinluv
One of the more emotionally textured moments on the album, “cantsleep/drunkinluv” lives in that restless, 3 AM headspace where infatuation and insomnia become indistinguishable. The double-track structure gives Cash room to explore both the raw anxiety of sleeplessness and the woozy vulnerability of someone deep in their feelings. Apple Music’s editorial described his approach to this kind of song as conjuring dream girl fantasies into sincere realities, and this track is the best example of that.
The production is more atmospheric here, the sample sitting further back in the mix to create a kind of sonic haze that perfectly matches the emotional state being described. It’s the kind of song that hits differently at midnight through earbuds than it does in the afternoon — and that context-sensitivity is a hallmark of genuinely great music. Cash proves here that the Slizzy universe isn’t just about dancing; it has genuine romantic depth.
Problem
Nothing on Play Cash Cobain is more ambitious than “problem,” a sprawling posse cut built around Brooklyn singer Laila!’s single that ends up featuring Big Sean, Fabolous, Flo Milli, YN Jay, Anycia, 6lack, Kaliii, Lay Bankz, Kenzo B, Luh Tyler, Don Q, Rob49, and Vontee the Singer — 14 features total. The sheer audacity of assembling a cross-generational, cross-genre lineup of this scale is remarkable, and the fact that it actually works is even more so.
Cash himself described it as everyone doing their own freestyle to the beat, and that spontaneous, freeform energy comes through in the final product. Each artist brings their own personality without crowding the others out, which speaks volumes about how much room Cash builds into his productions. This is a song that demands to be heard in a room full of people — the kind of track where each verse sparks a different reaction from a different section of the crowd.
Slizzy Poetry (Interlude)
Brief as it is, “Slizzy Poetry” earns its place as one of the most revealing moments in Cash Cobain’s catalog. Interludes can feel like filler, but this one operates as a thesis statement — a distilled expression of what the Slizzy Movement is actually about beneath the raunchy exterior. The production strips things down to their essence, leaving Cash’s instincts fully exposed and proving that the melodic DNA of his sound holds up even without the bells and whistles.
It’s the kind of track that longtime fans return to again and again precisely because it feels intimate and unguarded. There’s a confessional quality to it — less performance, more conversation. In the broader architecture of Play Cash Cobain, it functions as the album’s emotional exhale, a moment of stillness between the more kinetic cuts that surround it.
Turks (I Apologize)
“Turks (I Apologize)” sits in a fascinating emotional space — it’s an apology song wrapped in the same melodic warmth that defines everything Cash touches, which makes the contrition feel genuine rather than performative. The production carries a slightly more somber undertone than his brighter cuts, the sample choice leaning into something with a little more wistfulness and weight. It’s Cash showing range without abandoning the core of what makes his music feel distinctly his.
The lyrical vulnerability on display throughout this track is one of the reasons the Slizzy universe resonates with listeners beyond the party-ready surface energy. Cash isn’t just making bops — he’s sketching out an emotional life, complete with mistakes and the desire to make them right. On headphones, the nuances of the mix become particularly apparent: the way the drums breathe around the melody, the subtle harmonic choices in the sample.
Wassup Wya
“Wassup Wya” is Cash Cobain in his softer mode — the romantic, genuinely sincere side that Apple Music described as conjuring dream girl fantasies into sincere realities. This isn’t the raunchy braggadocio of the more uptempo cuts; it’s something closer to genuine longing, executed with the same melodic instincts but dialed down to a simmer rather than a boil. The production reflects the mood perfectly, opting for a cushioned, intimate feel rather than the bouncy energy of the singles.
It’s the kind of track that hits best through headphones in a quiet room — the details in the mix become more apparent, and the emotional content lands harder without the distraction of external noise. Cash has always insisted the album is about sexual healing, and “Wassup Wya” is where the healing part of that phrase makes the most literal sense. It’s an honest song, and honesty sounds good on him.
Message to U
“Message to U” operates in similar emotional territory to “Wassup Wya” but with a slightly more confident, declarative energy. Where that song is a late-night inquiry, this one is a more direct statement of intent. The production is characteristically warm, sample-driven, and melodically rich, but the arrangement gives Cash’s vocal performance more room than usual — the track breathes, which lets the sentiment land without feeling crowded.
This kind of romantic directness is part of what distinguishes the Slizzy sound from other drill subgenres: there’s no posturing, no violence, no manufactured toughness. Cash is simply telling you what he wants in a voice that’s confident without being aggressive, and the production matches that energy precisely. It’s deceptively easy to underestimate a track like this on first listen — revisit it a few times and notice how much craft goes into making something sound this effortlessly light.
Dunk
While “Dunk Contest” gets the headline glory as the lead single, “Dunk” itself is the raw, elemental version of Cash’s formula running at full efficiency. The track is tighter, more focused, and in some ways more revealing of his production technique — there’s less ornamentation and more architecture on display. You can hear the bones of the Slizzy sound clearly here: the sample placement, the drum programming philosophy, the way melody and rhythm coexist without competing.
For anyone trying to understand why Cash Cobain’s production approach has made him such a sought-after beatmaker for artists like Drake, Lil Yachty, and Central Cee, this track is instructive. It’s like watching a master craftsman work with the minimum number of tools needed — nothing added that isn’t necessary, nothing removed that is. That kind of economy is difficult to teach and impossible to fake.
Luv It
Cash Cobain’s willingness to flirt with Afrobeats influences on “Luv It” is one of the more surprising and rewarding moments on Play Cash Cobain. Apple Music’s editorial called out the Afrobeats-inflected nature of this track as part of what makes Cash’s approach feel cutting-edge and of the moment, and that reads accurately. The groove is slightly different here — more circular, more flowing — while still carrying the warmth and playfulness that defines the Slizzy brand.
It’s a reminder that Cash’s sonic palette, while associated specifically with sexy drill, is actually much wider than any single label. He grew up absorbing R&B, drill, Jersey club, and now clearly has an ear for global rhythms that inform his production in ways that don’t announce themselves loudly. “Luv It” sounds great in the car — the low-end bounce translates beautifully through a good system, and the melodic sample on top rewards quality audio that reveals detail without harshness.
Me N Payroll
“Me N Payroll” highlights Cash’s tight creative relationship with Payroll, one of his most consistent collaborators in the Slizzy universe. The track has the lived-in, effortless quality of two artists who know each other’s rhythm intuitively — no awkward transitions, no vying for space, just two people who sound natural in the same room. The beat rides a sample with that characteristic Cash Cobain warmth, and the chemistry between the two artists gives the whole thing an authentic, organic energy that’s hard to fake.
It’s the kind of track that sounds deceptively simple on first listen but reveals its craft on repeated spins. The arrangement is tight, nothing wasted, with each element serving a specific purpose in the overall sonic architecture. Songs like this are why Cobain’s Slizzy Movement has always felt more like a genuine community than a marketing exercise — the music actually reflects real relationships.
Slizzy Poetry Pt. 2 (Interlude)
The second Slizzy Poetry interlude deepens what the first one started, carrying the reflective, unguarded tone forward as the album moves into its final stretch. Where the first interlude felt like opening a door, this one feels like stepping through it — Cash sharing a little more, the production even more stripped back and personal. It’s an unusual move to include two interludes of this kind on a debut album, but they earn their place emotionally rather than just occupying runtime.
Listening to both Slizzy Poetry entries back-to-back creates a small arc within the larger album structure — a through-line of introspection that anchors all the more explosive tracks surrounding them. Cash’s instincts for pacing and sequencing are on full display here, and for fans who pay attention to how albums are built as much as what they contain, these interludes are genuinely rewarding.
Act Like
“Act Like” is Cash operating in pure, unfiltered mode — playful, direct, and built on a beat that practically dares you not to move. Apple Music specifically called it out alongside “Rump Punch” as exemplifying the sumptuous sound he pioneered and its correspondingly raunchy lyrical direction, and that framing is accurate. The production is polished but has an organic looseness that makes the whole thing feel like it came together in one inspired session.
The track rewards listening through a quality earbud setup where the high-frequency detail of the sample sits cleanly above the low-end foundation without muddiness — and for anyone curious about finding the right gear for music like this, GlobalMusicVibe’s earbud comparisons can help identify options that handle these kinds of layered, sample-heavy productions best. “Act Like” is a track for volume and movement. Don’t listen to it sitting still.
Candle
Among the tracks Cash mentioned specifically when the project was still planned as an EP — alongside “Dunk Contest” and “Act Like” — “Candle” represents a different kind of intimacy. The song title alone signals something slower, more ambient, and the production follows through on that promise. It’s a track that illuminates rather than ignites — present without demanding, melodic without being showy.
In the context of the full album, “Candle” functions as one of the emotional pivot points — a moment to exhale between the more energetic cuts. Cash’s songwriting instincts on this kind of track are underappreciated: the restraint required to make something feel genuinely quiet without becoming boring is harder than it looks, and he pulls it off with characteristic ease. It’s the kind of album track that becomes someone’s personal favorite precisely because it doesn’t announce itself.
Some Shit
“Some Shit” has the energy of a track that knows exactly what it is and doesn’t apologize for it. It’s direct, groovy, and built for repeated plays — the kind of album deep cut that ends up becoming essential to the fans who find it first. The production here is looser than the singles, with a more improvisational feel that suits the lowkey confidence of the vocal performance.
This is a track that makes more sense the more you understand Cash’s full body of work. It connects the Slizzy Movement’s community roots — the tri-state area, the local scene, the basement sessions in South Jamaica — to the national platform he now occupies. There’s a grounded authenticity to “Some Shit” that the bigger singles, with their high-profile features and streaming ambitions, don’t quite replicate.
Trippin On A Yacht
Cash Cobain’s first major release of 2025 arrived in February with a music video shot in New Orleans, linking up with Rob49 in his home city and giving the visual a bounce-heavy, NOLA flavor that translated brilliantly on screen. “Trippin On A Yacht” is a natural evolution of the Slizzy sound — it maintains the slinky, club-ready melodies Cash perfected on his debut album while reaching southward for new sonic inspiration.
The track caught the attention of Justin Bieber, who co-signed it publicly before its release — a moment that added significant cultural credibility to an already strong single. Bay Swag brings his usual complementary energy, and the whole thing feels like a summer anthem arriving fashionably early. For fans looking to appreciate these kinds of sonic layers, it’s worth investing in quality audio gear; see GlobalMusicVibe’s headphone comparisons for recommendations that will do this production justice.
Sick N Tired
The second single off Cash Cobain’s forthcoming sixth project, “Sick N Tired” features OnlyHeaven and represents Cash pushing his sound into genuinely new territory. Leaning into New Orleans bounce — a close sonic cousin to his sexy drill foundation — the track swaps his usual high-energy delivery for a more melodic, auto-tuned glide that gives the whole thing a hypnotic, reflective quality. The subject matter is more introspective than usual: love, complications, loyalty, and the exhaustion of navigating all three.
Cash described his upcoming album to People Magazine as containing Brazilian funk, New Orleans vibes, and some sexy drill, and “Sick N Tired” is the clearest preview of that expanded sonic palette. The production is lush but intentionally relaxed — the bounce rhythms sit beneath the melody like a slow tide rather than a crashing wave. It’s a mature step forward from an artist who is clearly thinking about what comes next, not just what worked yesterday.
Slizzy Gods
“Slizzy Gods” is essentially a Slizzy Movement mission statement set to music — a track that codifies the ethos Cash and his collaborators have been building since the early mixtape era. The production is larger and more declarative than his more intimate cuts, with a sense of scale that matches the ambition of the title. It functions partly as celebration, partly as manifesto, and entirely as a banger.
This is the kind of track that sounds different at a live show than it does through speakers at home — it has an arena quality to it, a sense of shared experience that amplifies in a crowd. Cash Cobain’s debut headlining tour “Party with Slizzy” launched September 2025, with 23 stops across the US and Canada including NYC’s Pier 17, and “Slizzy Gods” feels like exactly the kind of song built for that kind of moment. It’s a closing statement that opens the door to everything still to come.
Frequently Asked Questions
What genre is Cash Cobain?
Cash Cobain is widely credited as the creator and leading figure of sexy drill, sometimes also called sample drill. It is a subgenre of drill music that trades the typical icy aggression for warm, melodic textures built on chopped R&B and funk samples, Jersey club-influenced drum patterns, and lighthearted, romantic lyrical content. His production approach involves flipping samples he encounters in everyday life, a technique he has been refining since teaching himself FL Studio as a teenager in the Bronx.
What is Cash Cobain’s most popular song?
Fisherrr featuring Bay Swag and Ice Spice is his most-streamed song, having accumulated over 77 million streams following the Ice Spice remix in April 2024. The track became the defining anthem of Summer 2024 and is largely credited with bringing Cash Cobain to a mainstream national audience following years of building his reputation in the New York tri-state area.
What album is Cash Cobain’s best work?
His debut studio album Play Cash Cobain, released August 23, 2024 on Giant Music, is his most critically acclaimed project to date. It received a Metacritic score of 81, was praised by Rolling Stone, Pitchfork, Variety, and Billboard, and was ranked the number one song of 2024 by Jon Caramanica of The New York Times. The album reached the Billboard 200 and solidified Cash as both a rapper and a producer of elite standing.
Who has Cash Cobain worked with as a producer?
The list is extensive and spans multiple eras and genres. Cash Cobain has produced for or collaborated with Drake, Lil Yachty, Ice Spice, J. Cole, A Boogie wit da Hoodie, Don Toliver, Central Cee, Justin Bieber, Nav, Charlie Wilson, Cardi B, PartyNextDoor, Rob49, Quavo, Big Sean, Fabolous, 6lack, and many others. His producer tag has become one of the most recognized signatures in contemporary hip-hop.
What is the Slizzy Movement?
The Slizzy Movement is the cultural community Cash Cobain has built around his music — a collective of artists, collaborators, and fans connected by the sexy drill sound he pioneered. Key figures include Bay Swag, Chow Lee, Payroll, Loe Shimmy, and others. The word Slizzy appears throughout his catalog in song titles, mixtape names, and as a general term of identity for the scene he leads.
Is Cash Cobain going on tour in 2025?
Yes. Cash Cobain launched his debut headlining tour, The Monster Energy Outbreak Tour Presents Party with Slizzy, beginning September 7, 2025 at NYC Pier 17. The tour spans 23 stops across the United States and Canada including major cities like Los Angeles, Chicago, and Washington D.C. It follows successful performances at Brooklyn Paramount and Irving Plaza and marks a significant step forward for his live presence.