Bailey Zimmerman and The Kid LAROI’s Lost doesn’t open with a slow burn that drops you straight into a confession that’s all impact: “I never been lost ‘til I lost you.”
Released August 8, 2025, as part of Zimmerman’s sophomore album Different Night Same Rodeo, the track brings together two artists from different musical worlds under the watch of producer Austin Shawn, with songwriting credits shared between Zimmerman, Rodney Clawson, Ryan Hurd, Michael Lotten, The Kid LAROI, Billy Walsh, and Shawn himself.
On paper, pairing Zimmerman’s weathered vibrato with LAROI’s Auto-Tuned glide shouldn’t work this seamlessly, yet the song refuses to slot into one lane.
The verses trade off like relay runners, both narrators circling the same breakup from different angles; Zimmerman trapped in the familiar streets and skies that now feel foreign, LAROI dissecting the social ties that came with the relationship and wondering which to sever.
It’s the ache of disorientation, but set to a rhythm you can still dance to.
The video, directed in the baking Nevada desert, leans hard into contrasts.
Zimmerman behind the wheel of a towering Chevy SEMA truck, LAROI in the back of a black stretch limousine, the two converging in clouds of dust as Zimmerman does donuts around the limo.
At one point, they race, monster truck against limo, a moment that feels less about horsepower and more about the symbolic pull between grounded grit and curated luxury.
In the context of the song, it’s as if both men are hurtling forward in vehicles that say everything about where they’ve come from but nothing about where they’re headed, underscoring that shared question: Where do I go from here?
Fans have been split. On YouTube, comments praise the chemistry and the track’s easy replay value, with some noting how rare it is to hear LAROI invest in a full-length verse rather than a fleeting feature.
On Reddit, the reaction is thornier, some argue LAROI’s recent collaborations have lost the rawness of his earlier work, while others see Lost as a sign he’s simply in a different emotional chapter.
That tension mirrors the song’s own dynamic: two artists pulling from separate realities but tethered by the same feeling of sudden absence.
The details in the production keep the ache from slipping into monotony.
Shawn’s synth-driven backbone keeps the track light on its feet, while the doubled vocals in the chorus swell just enough to make “Lost in the sheets in a bed that was meant for two” feel less like a wallow and more like a wave you can’t get out from under.
And then there’s that race, fleeting in the video but lingering in interpretation.
Is the monster truck the raw, unfiltered self, and the limo the polished public image?
Or are they simply two ways of trying to outrun the same pain? Like the song itself, the answer isn’t spelled out.
The road’s wide open, but neither driver knows if the finish line is anywhere in sight.
What’s clear is that Lost isn’t about winning, but rather more about motion, even when you don’t know the destination.
The rest is for listeners to decide: when the dust settles, which vehicle would you rather be in?
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