Drake didn’t just drop a track, he orchestrated a mood. Released on 24 July 2025 during the second episode of his Iceman livestream, Which One throws Central Cee into Drake’s slippery terrain of flirtation, control, and quiet warfare.
It’s billed as a party track, but that barely scratches the surface.
At first blush, Which One plays like a continuation of Drake’s long romance with dancehall-adjacent beats, the kind that defined Controlla and One Dance.
But this isn’t the same energy. It’s darker. Less seductive, more performative. And very much aware of who’s watching.
The track opens with a taunting spoken intro that feels like a loosely choreographed improv: “Does my hair look beautiful?” “Do my titties look right?” “Think I can knock a boy off right now?”
The line is almost flippant, theatrical even, setting the tone for a song that refuses to take itself seriously while daring everyone else to.
Drake blends satire with control. It doesn’t just mock vanity, it draws attention to it
The title Which One frames the entire track as a choose-your-own-adventure of Drake’s personas -lover, strategist, or provocateur.
The chorus, ‘Which one? Which one?’ hits like a rhetorical grenade. On surface, it’s club bait (sex or love? Cench or your ex?).
But Drake’s history of weaponising repetition (Look What You Made Me Do, God’s Plan) hints at darker games.
When he sneers ‘You want friends or success, which one?’, it’s a direct callback to Kendrick’s Not Like Us taunt (‘They pretend like nobody famous get feuded’).
The difference? Drake’s not asking. He’s tallying wins, flipping Kendrick’s own ‘loyalty vs. ambition’dilemma into a victory lap.
That lyric is already showing up in YouTube comments and fan captions, poised to become one of the track’s calling cards.
As part of the Iceman episode, Drake staged a surreal scene. A masked pursuer in a Pinocchio nose follows him through a nearly empty cityscape. The symbolism isn’t subtle.
Fans were quick to link it to Kendrick, a symbol for dishonesty, for someone still lurking in the background.
But what makes the visual hit harder is how quietly Drake flips the narrative.
He’s not just mocking obsession, he’s showing how predictable it is. As if to say, “Even when I’m not naming you, I know you’re watching.”
In that light, the irony doesn’t fall on him. It’s on the ones still looking for a way back into the conversation.
It lands harder when viewed alongside What Did I Miss?, the album’s first single, where Drake addressed Kendrick directly.
And even more so when you factor in his ongoing lawsuit against Universal Music Group over the promotion of Not Like Us.
The beef might not be front and centre anymore, but it hasn’t cooled.
There’s a live performance element too. Which One was teased days earlier during Drake’s headline slot at Wireless Festival, where he brought Central Cee onstage and called him “a guy I’m proud of.” It didn’t feel like marketing. It felt like setup.
The lyrics themselves oscillate between seduction and domination.
There’s the cheeky club bait, “All the girls that’s here for the truth, come put both hands on the DJ booth” but it’s quickly followed by possessiveness: “If I go to the bar, I’ll bring you around.”
Drake isn’t just narrating a party scene. He’s staging control. Every move, every lyric, keeps the woman close until he’s done with her. One fan on Reddit put it best: “Drake’s verse is like a velvet leash.”
The mood tilts even further in lines like “Put your head under the pillow. Face first.”
It’s less about intimacy than choreography, the kind that makes the track feel charged, not just catchy.
Then Central Cee jumps in and the tempo doesn’t just shift, it splits. The beat switch at 1:25 lit up YouTube comments immediately.
Cench arrives with a verse built to echo in club speakers and reaction videos alike. “Girl your body is T, it’s Pain, I’m sprung,” he raps, a bar that’s already been screen-capped across social media.
He name-drops the Spice Girls (“Tell me what you want, what you really really want”) and flips a 50 Cent reference straight into a bar crawl.
It’s swagger without needing to shout. And the UK drill lingo doesn’t just flavour the verse, it anchors it.
Terms like “real good yute” and “snitch one” cement this as a London export, even if Drake’s hand is on the wheel.
There’s also the code-switching that critics have come to expect and scrutinise in Drake’s international-facing tracks.
Words like “ting,” “mandem,” and “yute” surface again, just as they did during his More Life era.
Except this time, it’s not just a stylistic nod. With Central Cee on the record, it reads as Drake trying to mirror the language of the man beside him or outdo it.
For some, it’s homage. For others, appropriation. For Drake, it’s strategy.
The production, handled by O Lil Angel and b4u, walks a line between minimal bounce and theatrical tension.
The synths are distorted, the percussion sharp but never dominant.
There’s a weight to the silence in parts, like the track is daring the listener to fill in its blanks.
This isn’t a song that clings to a drop. It moves through phases like a mood swing with rhythm.
Not everyone’s sold on the format. Reddit threads echo an old complaint: “Drake needs to chill with the beat switches.”
Some called it the “curse of Sicko Mode” rearing its head again. For every fan dancing through the shift, there’s another calling it clunky.
On charts, the track debuted strong, hitting #11 on YouTube Trending within its first 24 hours. On Spotify, Which One entered the Top 50 in Canada, the UK, and several European markets shortly after release.
And even without a traditional music video, its visual rollout during the Iceman livestream helped it spread faster than some official singles.
Drake’s push into cinematic territory blending song release with serialised storytelling seems to be paying off, especially with younger fans following each episode like a new instalment.
Drake and Central Cee’s chemistry isn’t new. Back in 2023, their On the Radar Freestyle made noise for its back-and-forth grit.
Central Cee, coming off the release of his debut album Can’t Rush Greatness, doesn’t get lost in the pairing. He adapts and rises, even with Drake staging the moment.
Which One is more than a summer bop, though it definitely wants to be that too.
It’s a calculated blend of club pacing, coded messages, and cultural borrowing that only someone with Drake’s catalogue could pull off and still have fans dancing through the drama.
It dares listeners to ask: is this just music for the girls, or another chapter in one of rap’s most convoluted rivalries?
And maybe the better question isn’t Which One, but which truth?
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Full Lyrics To Drake & Central Cee Which One
Intro
Does my hair look beautiful? (Yeah)
Do my titties look right?
Think I can knock a boy off right now?
Refrain: Drake
All the girls that’s here for the truth, come put both hands on the DJ booth
Then wine your waist to the big man sound
Verse 1: Drake
And I get too stiff ’cause that ting’s too round, good God
Make me lift up your gown, but your face so sweet, wanna spin you around
If I go link gang, I’ll bring you around
If I go to the bar, I’ll bring you around
Which one? Which one?
You’re not like the tings you’re around
You’re a real good girl, so I’m bringin’ you down
But come to the bed, I’ll fling you around, weh
These guys can’t make songs for the gyal dem
Trust me, this how the single should sound
Fuck anyone that’s bringing you down
Sweetheart, you’re doing your thing right now, good God
Refrain: Drake
Yeah, all the girls that’s here for the truth, come put two hands pon the DJ booth
Then wine your waist pon a real good yute dem
Chorus: Drake
You want Cench or your ex, which one?
You want friends or success, which one?
Tell the sound man, “Spin this one”
Play this for the gyal dem party, dun
Verse 2: Central Cee
God forbid a girl’s tryna have fun
I got X if you wanna take drugs
You wanna have sex or do you wanna make love?
Which one? Which one? Which one? Which one?
Got a fairy ting and I got a witch one
A G’d up ting that I bring sticks ’round
And I’ve got a good girl, good girl, snitch one
Too many gyal, now I gotta switch one
Turn the hotel to a twenty-V-one
Three-sixty, my head got spun
Junk in the trunk, can see it from front
Girl, your body is tea, it’s pain, I’m sprung
Your backside weighin’ you down, one ton
I got a chopstick for your wonton
Tell me what you want, what you really, really want
Put a coin in the slot, ya just hit jackpot
Refrain: Drake
Ayy, all the girls that’s here for the truth, come put two hands on the DJ booth
Then wine your waist for the six-side yute and
Verse 3: Drake
Put your head inna the pillow, face first
Face first, face first, face first
Ayy, face first, face first
Put your head inna the pillow, face first
I’m in the jam, know the mandem, burst
You got makeup on the white shirt
I wanna fuck out your face and skrrt
You need to throw that ting inna reverse
Then work, work, work, work, work
Yeah, work, work, work, work, work
Your last man broke your heart and it hurts
You could cry out ya eye and curse
You want diamond watch, you want purse
You don’t need swimsuit, take off your shirt
Bend your back, gyal, don’t say a word
Face of a angel, I come like church
I can’t wait, girl, I’m not a waiter
But you’re sexy, you still get served
I’m at the Claridge’s in London, burst
Put your head inna the pillow, face first
Refrain: Drake
Yeah, all the girls that’s here for the truth, come put two hands on the DJ booth
Then wine your waist for the six-side yute dem
Chorus: Drake
Ayy, you want Cench or your ex, which one?
You want friends or success, which one?
Tell the sound man, “Spin this one”
Play this for the gyal dem party, dun
