Despite his efforts to maintain a mysterious aura, Travis Scott is a ubiquitous force. If he’s not releasing new music, he’s designing Nikes, collaborating with corporate giants like McDonald’s and the WWE, or extending his brand into any venture that can yield profit. It’s commendable, but there’s an interesting dichotomy in how he’s often seen as a purveyor of counterculture. Yet, his greatest strength may be his eye and ear for what’s hot—or at least convincing people that it is. At the core of his discography lies a curated network of collaborators who help flesh out full bodies of work like Astroworld and Utopia. He emerged from the Hypebeast era, where Instagram moodboards birthed aesthetics that have now endured for over a decade—and he’s among the few who turned those vibes into a lasting career.
For Scott, the Cactus Jack imprint should’ve been the ultimate showcase of his talent-scouting ability, and to a degree, he’s succeeded. Don Toliver, for example, has graduated from being “Travis Scott’s artist” to becoming an anchor of the label’s presence since the beginning of the decade. Sheck Wes, however, still seems to be chasing another “Mo Bamba” moment. When—or if—that’ll happen is anyone’s guess. Other signees—Luxury Tax 50, SoFaygo, and Wallie The Sensei—are more recent additions. With the release of JackBoys 2, Scott attempts to rally this newer roster, pairing them alongside legends, hitmakers, and global superstars to stamp the label’s next chapter. But the result doesn’t offer much more than we already knew. The lack of cohesion makes this project feel like another off-season money grab. JackBoys 2 plays more like a collection of Travis Scott B-sides with a few cameos from the crew. Scott appears on 13 of the 20 tracks on the deluxe edition, making it feel more like a fan pack for die-hards than a crew showcase.
Don Toliver, more than anyone, proves he can stand on his own without leaning on his label boss. “NO COMMENTS” floats on his signature muddy melodies with high-pitched levity, and “VELOUR” with Sheck Wes plunges into dizzying Southern production. SoFaygo and Scott’s “CONTEST” ventures into SoFaygo’s frenetic, rage-y soundscape—an energetic banger that still bears Scott’s trademark psychedelia. But across these moments, much of it feels like recycled ideas from the original JackBoys. That’s not necessarily bad if you’re looking for a vibe to cruise to. Still, for those hoping for something boundary-pushing—as Scott’s reputation suggests—there’s not much to grasp. That said, there are bold moments scattered throughout.
One of the more intriguing developments is Wallie The Sensei, the Compton artist who gained wider attention through Kendrick Lamar’s GNX standout “Dodger Blue.” On “CAN'T STOP,” Wallie holds his own alongside Don Toliver and Future, showcasing real promise. Later, he links with Luxury Tax on “110 SOUTH”—a fusion of West Coast vibes and thumping Southern bass. It’s a solid track but feels more like a regional effort than one built for broader reach.
Ultimately, the strongest parts of JackBoys 2 have little to do with Travis Scott or his signees. His top-tier curation skills shine through with big-name features, including narration from Bun B, and stellar production. Cardo, OZ, T-Minus, F1lthy, Frankie Bash, BbyKobe, and Southside contribute to the soundscape, along with some lesser-known up-and-comers. But it’s the names on the features list that boost the album’s allure. Before the release, Scott gifted collaborators new Lamborghinis—shared widely on social media—as a flashy teaser. Some of those moments pay off, like GloRilla’s standout verse on “SHYNE” and Scott’s surprisingly animated, gibberish-laced hook—a rare moment where it sounds like he actually put effort into his pen. Unfortunately, that also speaks volumes about his inconsistency as a rapper.
Still, when Scott links with SahBabii on the cartoonishly fun “BEEP BEEP” or NBA YoungBoy on the sinister “OUTSIDE,” he matches the energy and helps bring out some of the best performances on the project. These collaborations show glimpses of the tastemaker Travis is.
Then there’s “PBT,” featuring Vybz Kartel and Tyla—a clear attempt at a pop-dancehall-afrobeats crossover. It lands awkwardly. For all the criticism Drake gets for trend-hopping, this track feels like a shallow dip into international waters. Vybz Kartel’s verse is strong, and Tyla sounds great, but Travis’s faux patois on the hook undercuts it. It feels misplaced and disconnected from the rest of the album. Elsewhere, Future and Playboi Carti reunite on “WHERE WAS YOU,” which feels like a leftover from one of Future’s recent projects. Carti’s hook is decent, but it still plays like a cut from the vault.
Hyping up JackBoys 2 was likely easier than executing it. The release feels more like a placeholder—something to chart well and buy time until the Utopia follow-up. Coming just after Clipse’s Let God Sort Em Out—where Pusha T takes direct shots at Travis (to which he responds on “CHAMPAIN & VACAY”)—this rollout doesn’t live up to the blockbuster aura Scott once commanded. Instead, it feels like another flex of branding and commercial clout. In the end, JackBoys 2 is a reminder that branding has overtaken cohesion, and vibes have replaced vision, which stings a bit more when one of hip-hop’s supposed visionaries is behind it.
