BabyBartier – “Die Thuggin’” review

2nd offering of 2026 & the 5th extended play overall from Los Angeles, California rapper BabyBartier. Emerging off his debut EP Baby Blanco a year ago followed by Diablo a little over a month later, his popularity would continue to grow over the course of the summer after Awe$ome & Terror respectively became his most acclaimed EPs. Coming off his moderately received debut album Nightmare on Rodeo under Internet Money Records alongside Mercury Records & Republic Records, he’s outdoing it with Die Thuggin’.

The title track produced by Nash begins talking about going out like a G whereas “Steppin’ Out” over a plugg instrumental so he can unload the clip right when he hops out the whip. “BabyNDO” properly introduces to the duo of the same name comprised of him & NDO D accompanied by a hyper Patrick Garza beat just before “Never Sober” takes a more wavier approach instrumentally thanks to PROJECT4PLAY talking about addiction.

406ahmad jumps behind the boards for the plugg-infused “Skateboard” proclaiming himself to be a rockstar who’s always on the grind while “Maui Wowie” talks about getting fed up with all the heartbreak so much, that he might consider his drug stash his true soulmate. “Hit Your Phone” airs out his disappointment towards someone who he thought would have his back after saying so & the rage-inducing “Babyface” ends the EP expressing his refusal of letting a bitch bring him down.

He must’ve heard the feedback Nightmare on Rodeo got 7 months because not only do I think Die Thuggin’ dethroned Awe$ome to join Terror in ranking amongst BabyBartier’s greatest EP but needless to say: A huge improvement above his Internet Money/Mercury/Republic debut earlier this spring & would love for his sophomore effort to maintain this same energy when it arrives next year mainly due to the the improved production making his performances resonate more.

Score: 4/5

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Tezzus – “Mømma Bøyz” review

Atlanta, Georgia rapper Tezzus back for his 12th extended play. Introducing himself with his first few EPs Hard2Kill as well as Hellraiser & Everyday’s Halløween, his 2024 debut mixtape Tezzus Khrist would significantly elevate his profile locally as did the handful of appearances he made on The XA Tape. He later gave us the Søufside collaborative EP with Percaso, Backrooms, King Phønk, I Phønk, U Phønk and Tezzy Pendergrass until Young Thug signed him to YSL Records following 9 Vicious’ departure. ##FilthyLikeMax was a solid debut for the label & the eponymous Uy Scuti Bøyz tape left audiences including myself divided until The Resurrectiøn made up for it. 5 months later & Mømma Bøyz has finally arrived.

After the “New Vøicemail” intro, “Smøking & Driving” produced by PROJECT4PLAY kicks things off letting Sk8star handle the sole verse depicting the gangsta lifestyle whereas “Mama Søn” featuring Sk8star & Sir Untre talks about the reason they can’t love any bitches. “1986” by the Uy Scuti Bøyz featuring Percaso finds the trio linking up to spit braggadocio just before “B.A.L.A.B. (Broke Ass Lil Ass Bitch)” by the Uy Scuti Bøyz featuring southsidesilhouette & Yung Fazo flexes their wealth over an instrumental from Internet Money Records in-house producer.

“Whateva” feels a lot more like an undeveloped diamond* solo track leftover from the Bling Slime era considering Tezzus only does the hook similarly to “Smøking & Driving” but after “Da 1” featuring RJmrLA & Young Thug brings all 3 of them together to talk about their mothers nicknaming them “the gift” after looking at everything they’ve been doing, the self-produced “Teletubbies” continues the 2nd half boasting his diamonds of various colors. “Fuck Everbødy” featuring Pz’ gives middle fingers to everyone now they’ve been becoming richer. “Snakes & Føxes” by the Uy Scuti Bøyz featuring Fox BD & YTB Fatt ends the EP with a mediocre gangsta rap single.

I still believe The Resurrectiøn remains Tezzus’ best material of his career & since his YSL deal came to fruition at large, but Mømma Bøyz in preparation for The Resurrectiøn 2 had me coming away from it a little torn with the final results due to a combination of having a guest on nearly every song except for 1 & half of the production. Which is disappointing because the ØWay co-founder’s tribute to his mother is presented in such a cohesively endearing manner.

Score: 3/5

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Eric Barber – “Barbershop” review

Metro Detroit, Michigan YouTuber, recording artist, Minecraft innovator, interviewer & marketer Eric Barber making his full-length studio debut. Someone who I have met personally on several instances at concerts & Majik Ninja Entertainment’s annual Astronomicon pop culture convention. Barbershop here though taking inspiration from KIDS SEE GHOSTS, Eminem, Big Sean, Pusha T & Denzel Curry looks to make a broader interpretation of his personality bringing a number of notable guests to contribute.

“Hibachi Boys” featuring EastsideEggroll & Linny finds the trio linking up for a for a decent trap intro turning up the heat although I prefer the next track “East 2 West” featuring Dizzy Wright, where they feel like their clear vision was being misunderstood. “Potsticka” featuring GMac Cash decently taps in with the Detroit sound for roughly a minute & half looking to make history leading into “Delusions of Grandeur” featuring Guilty Simpson switches it up heading for a jazzier boom bap vibe instrumentally.

The Smash Bros appear during “Falcon Punch” to go full nerdcore making tons of video game references leading into “What’s Love?” featuring Seezyn reaching the halfway point with a decent trap soul/pop rap cut produced by Maestro Williams. “Detroit Nightmare” featuring Bizarre kicks off the 2nd half returning to the boom bap so they can get murderous together just before the horn-infused “BFFL” featuring Linny talks about them always been catching Ws.

“Superman” featuring Big Trip, Mvck Nyce & Mickey Diamond takes the chipmunk soul route until a switch-up near the last minute dropping straight verses while “Dragon Barb Z” featuring Fat Ray & J.U.S. works in some hi-hats & more horns talking about being rotten dragons. “Cannabiz” featuring A-F-R-O winds down the last few moments maintaining the trap sound flexing they’re too hot for this collab & the title track holds it down by himself for a sample-driven boom bap outro.

Looking at the tracklist had me assuming Eric Barber would be taking on a curator role for Barbershop, but was nonetheless surprised by his own rapping abilities. The production explores a number of different sounds varying between the Detroit sound & trap to boom bap, jazz rap & chipmunk soul exploring themes of identity & self-discovery shift from confidence into vulnerability & a clear sense of who he it building it with longtime friends & artists he’s looked up to.

Score: 3.5/5

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Boldy James – “Bentayga Genesis” review

Detroit, Michigan veteran Boldy James staying busy with his 19th studio LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), there was a point where Nas’ independent label Mass Appeal Records had them on their roster for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. Manger on McNichols produced by Sterling Toles was as equally fantastic & the Griselda Records-backed Versace Tape EP was a tad bit disappointing given it was rushed. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven, Penalty of Leadership, Mr. 10-08 produced by Futurewave, the Conductor Williams-produced Across the Tracks, the Harry Fraud-produced The Bricktionary & the Carlo Anthony-produced Hidden in Plain Sight were all welcomed to warm reception additionally. Token of Appreciation produced by Chuck Strangers was much better than both Murder During Drug Traffic & Permanent Ink, the Antt Beatz produced Hommage left people divided although I didn’t mind it, although the V Don-produced Alphabet Highway along with the Killing Nothing sequel Conversational Pieces & Late to My Own Funeral were more positively received. Coming off his Roc Nation Records debut Criminally Attached along with Trapper’s Alley 3: Hell or High Water & Strobelight, he’s tapping into the Detroit sound for Bentayga Genesis.

“Love Me Now” makes for a cloudy trap opener with some bells advising to try not waiting until it’s too late whereas “Disc Jockey” embraces the Detroit sound talking about being a mob fiend his whole life. “Only You” featuring Payroll Giovanni declares themselves to be the real Slim Thug over a cloudy boom bap beat just before “Doberman Pincerman” featuring Dave Hill finds the pair decently trading the mic back-&-forth with each other.

G.T. appears during the soulful “New Boston” refusing to stop balling because they’re not gonna appreciate him until he passes leading into “Joshua” featuring Chip$ asking how anyone needs a co-sign past the age of adulthood. “50 Summers” featuring Icewear Vezzo & Sada Baby kicks off the 2nd half having all 3 of them uniting for a Detroit trap heater while “Father Like Son” featuring 218bojay shares a moment with his son over a bell-woven instrumental.

“Controlled Substances” kicks off the 4th quarter talking about not knowing there was a pot of gold at the end of the dirt road he took until he discovered it while “Hard to Fathom” soulfully discusses his success being difficult for him to understand. “Mr. DeVille” winds down the last leg of the album talking about the people he rolls with shooting to kill & “Sunshine” concludes Bentayga Genesis in the form of a boom bap outro dedicated to the light of his life.

This dude will rarely drop something that I won’t find myself enjoying more than others & Bentayga Genesis joins likes of Murder During Drug Traffic, Permanent Ink and Hook, Line Sinker to become one of the more mild entries in Boldy James’ lengthy discography. The production incorporates more elements trap & the Detroit sound despite the jazzier boom bap influences staying in tact to accompany the gangsta/mafioso themes, although The Pop Catcher produced by Futurewave & Glass Tables produced by Info56 will each make up for it. Maybe the mythical Drug Dilla produced by the late, great J Dilla if we’re lucky.

Score: 3/5

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Foul Mouth – “Everybody Goes Crazy Twice…” review

This is the sophomore effort from Detroit, Michigan producer/emcee Foul Mouth. Coming up as 1/2 of Da Bash Brothaz with the late PHD & 1/3 of JFK with Jake Knew & King Juke, he would also form the duos Bad News Brown & Speak of the Devil with Ketch P & DJ Skyrah respectively after starting his own label Middle Finger Music & producing albums for the likes of Fatt Father & Isaac Castor to name a couple. His most notable work has been with Bizarre of prior D12 fame whether it be his work with King Gordy as L.A.R.S. or the He Got a Gun series & the final moments of “Antichrist” off Eminem’s 13th album THE DƎATH OF SLIM SHADY (COUP DE GRÂCE), coming off his solo debut Everybody Goes Crazy Once to drop a sequel.

The self-produced “Everybody Does Intros Twice” spends the first minute & a half of the album with a boom bap intro referencing WWE Hall of Famer Mike Tyson whereas “Take Cover (Bombs Away 2)” eerily suggests for everyone to run before the explosives get set off. “The Bed of a Steady Water” comes through with a 2-parter Blizzard co-produced talking being a veteran who’s lyrically above the rest prior to “Nooks & Crannies” explaining that hip hop chose him instead of the other way around.

Bub Rock & J-Classic both appear during “Alabama Jam” to talk about keeping their names out ya mouth unless you’re earning their checks while “Welcome 2 the Jungle” featuring Isaac Castor finds the pair instrumentally going for a rap rock vibe so they can suggest every competitor of theirs to stay in line. “Dime Bag Daryl Strawberry” featuring Choke Uno talks about selling dwarf seeds to raise a baby who won’t get big while “Where’s My Lunch Lady” demands for any stupid questions to be asked right on the spot.

“Glamour & Glitz” featuring Tony Cone jazzily talks about feeling decent staring at their rearview mirrors while “Big Foul” observes how funny it is shit changes over a crooning sample. “Stock Exchange” featuring Kain Cole links up so they can throw shots at bums who don’t have a plan & once “2064” takes us nearly 4 decades into the future, the title track references the late WWE Hall of Famer, former WWE United States Champion, WWE Intercontinental Champion & WCW World Tag Team Champion Rick Rude.

There aren’t as many punchlines on Everybody Goes Crazy Twice… because Foul Mouth understandably attempts to fill in the space a lot differently than he did when Everybody Goes Crazy Once came out nearly 365 days earlier, but he still finds ways to maintain the wild humor listeners got to familiars themselves with on that debut & use rhyme schemes that’re more well-put together for another dosage of his reality based late night fiascos from a cloud 9 point of view.

Score: 4/5

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Visionaries – “The Last Shall Be 1st…..” review

The Visionaries are an alternative hip hop group from Los Angeles, California consisting of 2Mex, LMNO, Dannu, Lord Zen, Up Above Records founder Key Kool & his Kozmonautz cohort DJ Rhettmatic. Making their full-length debut with Galleries almost 3 decades ago, they would go onto follow it up with Sophomore Jinx as well as Pangaea & We’re the Ones (We’ve Been Waiting For) respectively. They reunited in the fall of 2020 when the COVID-19 pandemic shut the world down to drop V & have reunited after nearly 6 whole years to drop their 6th studio LP.

After the intro, “Missing Link 2” kicks things off with this rap rock opener produced by Key Kool observing that shit hasn’t been the same since they came & went whereas “Untouchable” moves on from there flexing that no one can touch them lyrically. “VSHA VSHA” talks about how these guys have been a definitive movement for 3 decades already leading into “For U(s)” dustily dedicates itself to themselves & those who’ve stuck around since their inception.

“Collect Call” finishes the 1st leg talking about washing out all these bad actors just before “Freestyle Sunday” finds everyone going off the top for a couple minutes over a boom bap instrumental looking for thrills similarly to the late WWE Hall of Famer Muhammad Ali & the late King of Pop Michael Jackson. “Mo’ Pressha Blues” hooks up a sinister organ melody calling this the land they stand on instead of a house they built while the original “Missing Link” talks about being the lost connection to the chain of events.

The track “Diamonds in the Rough” winds down the last leg of the album discussing the feeling they have of being analyzed but not defined & after “Whowannit 2” delivers a boom bap flavored sequel to “Whowannit” off Hang on Alex a couple years earlier asking if anyone truly would like smoke from them as a crew, the final song “Let’s Grow” preceding the outro concludes The Last Shall Be 1st….. calling for everyone to better themselves.

A lot of people in the west coast felt like V was a testament to them regardless of some considering it 1-note, but The Last Shall Be 1st….. does an improved job at making seem like the Visionaries haven’t been collectively inconsistent at giving us the abstract boom bap we’ve come to know & love from them. Key Kool’s production displays of the growth & mastery these guys have experienced in the last 3 decades exploring themes of growth along with maturity & reflecting upon of a deeper understanding of their existences.

Score: 4/5

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Babyface Ray – “Unfuckwitable 2” review

Detroit, Michigan rapper, songwriter & actor Babyface Ray returning for his 6th mixtape. Starting out over a decade ago by joining the Team Eastside collective, he has since gone on to drop 5 mixtapes as well as 5 EPs & a well received debut within the last several years before turning heads worldwide & becoming one of the 2 biggest up-&-comers in the city next to Babytron, both of whom eventually landed spots in the 2022 XXL Freshman Class. Coming off Mob along with Summer’s Mine & The Kid That Did, a sequel to Unfuckwitable after the 2-disc Codeine Cowboy only seemed right.

“Love for Me” featuring Babyface produced by LulRose opens up talking about wearing his heart on his sleeve & coming from the streets whereas “Nothing” let’s all these lil muhfuckas know everything they’re doing doesn’t mean a thing to him. “Nigel Sylvester” featuring Veeze finds the pair luxuriously getting in their Detroit trap bag together for a few minutes prior to “Jiffy Mix” brings a cloudier atmosphere to the table talking about whipping up product.

Meanwhile on “Start This Over Again”, we have Face advising to mix the lemons life hands you with some lean leading into “My Thoughts 6” giving the world another look at what’s going on in his head. “Call Me Back” smoothens things out with a spacey pop rap tune telling this woman to hit Face’s line since he can’t get a hold of her just before “Ghetto Symphony” featuring Peezy links up to talk about their experiences of living like gangstas out in the Motor City.

“I’d Rather Be the Truth” samples “I’d Rather Be With You” by Bootsy Collins for an authenticity ode while “When I Call” featuring 42 Dugg sticks to the Detroit sound making way for both of them to trade verses with each other. “Endless” talks about wanting money since he’s a vegan & not wanting to partake in any beef others would like to drum up while “FR Williams” continues the 2nd half of the tape explaining to his son that he can’t come to his school because of the commotion it’ll cause.

Lil Yee’s appearance during “Lights Off” doesn’t really impress me a whole lot despite the cloudy trap beat & the romantic subject matter but once “Ok Then” talks about his belief of the hate he gets stemming from making this shit look easy & his paper being taller than wedding cake since he’s married to the money, “Chinese V” featuring Babyfxce E joins forces for a moderate Detroit/Flint trap crossover tossing the mic back-&-forth with 1 another.

“Ghetto Symphony 2” featuring Poppa winds down the last few moments of Unfuckwitable 2 talking about giving it your best & moving out of section 8 while “Fuck Rap” claps back at everyone who’s bitten his style & getting fed up with a bunch of lames overcrowding the industry over a tana instrumental. “Bon Voyage” sends off the tape talking about no amount of money would make him switch up & insuring $100K on the chain he has around his neck.

The original Unfuckwitable was the first time I ever reviewed Babyface Ray & a lot has changed in the 5 going on 6 years since that EP came out, going from one of the Detroit sound’s hottest up-&-comers when his mentor was incarcerated to a XXL Freshman & a key player in that particular style of trap music Lando Bando controversially said was “dying” recently. You’re getting calmly observational subject matter than Codeine Cowboy & it was cool to hear LulRose handling nearly a quarter of the production.

Score: 3.5/5

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Even Heathens – “Vulgarity Therapy” review

Horrorcore duo Even Heathens fulfilling their Lyrikal Snuff Productionz contract with their 7th studio LP. Consisting of Pennsylvania emcee ILLtemper & Detroit veteran King Gordy, they formed in 2021 off an eponymous full-length debut & the Horrorcore Stories extended play. They have since put out a sophomore effort Unpleasant Never Dies & the Odd Gods trilogy until forming the Wic Kids with Donnie Menace & Grewsum respectively, coming off Handful of Cancel to head straight to Vulgarity Therapy.

“Ungodly” produced by J Reno after the Dr. Cook intro kicks things off with this rap rock/boom bap opener drinking 5ths & taking meth before waking up stressed whereas “Mind Tricks” demands an explanation regarding why they can’t ignore the creations their heads are making. “Horrible” featuring Recognize Ali finds the trio talking about offering nothing but brutality leading into “Same Pussy” likening themselves to siblings over a Stir Crazy instrumental.

J Reno’s remix of “You Died” goes for a somber boom bap vibe doesn’t shy away from admitting to those being addressed that they feel like they’re better off dead while “Hell’s Mosh Pit” featuring Grewsum & Řezník brings all 4 of them together to spit the wicked shit over a flute-woven boom bap beat. “Don’t Run Now” featuring Swift Homicide begins the 2nd half of the full-length talking about the art of murder just before “Amanda Bynes” humorously pokes fun at each other for looking worse than the former Nickelodeon star.

“Deathodists” featuring Scum links up so they can talk about only thinking of the individuals they’re trying to kill while Stir Crazy’s remix of “Dopes” feels more lively compared to the original, talking about us being what we shoot making nods to a number of different drugs. The final song “Snuff Puppies” featuring Bloody Ruckus, Chuckklez & M.M.M.F.D. preceding the Dr. Cook outro finishes Vulgarity Therapy in the form of this Team Snuff anthem balancing boom bap & trap.

To finish their LSP tenure, Vulgarity Therapy follows up the filthiest & my personal favorite Even Heathens album Handful of Cancel conceptually building itself around ILLtemper & King Gordy’s shrink Dr. Cook trying to pinpoint exactly what makes them so vulgar in a grotesque manner well enough where I can say it rivals the predecessor a year & a half earlier. J Reno & Stir Crazy only produce 5 & 4 tracks each instead of splitting the production last time laying it all out regarding who they are.

Score: 4/5

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Terror Reid – “Drowned God” review

New full-length studio debut from San Jose, California deejay, producer, rapper & actor Terror Reid. Originally turning heads a decade back after dubstep pioneer Skrillex signed him to his OWSLA Music for short period of time, he went on to drop 2 full-lengths & 13 EPs in the EDM genre under the name Getter before embarking into hip hop during the pandemic with Hot Vodka, which my homie Rone Bone of The Beneath the Dirt Podcast put me onto when it came out & was impressed by the boom bap/g-funk production as well as the raps from Terror himself. He would follow this up with the sophomore EP DYNAMO along with Hot Vodka 2, coming off his Manifesto to drop Drowned God roughly 5 months after the untimely death of his childhood friend Oliver Tree this summer.

After the intro, the self-produced “Blood Bag” kicks things off spitting the wicked shit over a boom bap beat whereas “Sabertooth” goes for a g-funk vibe instrumentally so he can break it down for all the haters in the back. “Wat I’m Known Fo” talks about telling it the way it is retaining the g-funk sound in the process while “Power Trip” featuring GODHANDUSA finds the pair continuously moving & having the grim reaper as their sidekick.

“Bring tha Pain” moves on from there ruggedly talking about providing exactly that at all times & reminding everyone exactly who they’re fucking with just before “Murderous” featuring Sxmpra dustily returns to the horror themes explored earlier. “Bat Shit” featuring eliozie gets the 2nd half of Drowned God going letting us know exactly how crazy they can get while “Hold Frame” soulfully talks about becoming underrated for his lack of motivation.

Lil Darkie appears during “Rule tha World” decently trading the mic back-&-forth with each other while “Snake Mountain” spends a couple minutes callin’ muhfuckas out. “Glow” featuring Token links up to talk about keeping the bread close to them while “Presto!” featuring Joey Valence & Brae explains no one can walk in their shoes because they’d trip. The g-funk flavored “In My Head” asks why this dark cloud follows him & “Scheme Demon” saves some of the hungriest writing for last.

We don’t usually get this many guests whenever Terror Reid puts anything out & as much as that had me intrigued, his debut album still doesn’t hold up as much as earlier EPs & I don’t see myself revisiting Drowned God other than maybe a little over half of it. His boom bap/g-funk production doesn’t lose it’s spark even if he’s getting more outside producers behind the boards, but there are only a couple guests who really wowed me.

Score: 3/5

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Offset – “G.M.F.U. (Got Me Fucked Up)” review

Atlanta, Georgia rapper Offset finally releasing his 4th studio LP. Starting out as 1/3 of the Migos with Unc & Phew, he released a fantastic collaborative project with 21 Savage & Metro Boomin’ on Halloween 2017 day called Without Warning only to make his solo debut Father of 4 the best of the 3 compared to QUAVO HUNCHO & The Last Rocket. Set It Off wasn’t too bad either & Kiari was more introspective, coming off the poorly received Haunted by Fame extended play addressing the people who G.M.F.U. (Got Me Fucked Up).

“R4W” featuring Quavo opens up with both surviving Migos members hopping over a IllaDaProducer beat to talk about preparing for war whereas “I Did” produced by Turbo flexes the money he’s counting off the petty shit he’s done. “Why Not?” by Quavo featuring Loe Shimmy awkwardly finds the pair talking about having beautiful women on yachts & flying to Greece for the fuck of it just before “Every Night” featuring Don Toliver samples “Freek’n You” by JoDeCi as they stay focused with life constantly changing.

Southside & Smatt Sertified get behind the boards during “Buy Ice” so he can talk about pissing his girl off purchasing a bunch of jewelry leading into “Pop Shit” continuing from there dropping mediocre braggadocio. “Misfits!” featuring ApolloRed1 & OsamaSon brings 3 of them together to talk about dressing like outcasts until “Back in That Mode II” refines what he was doing with the original Kiari track down to the Pooh Beatz instrumental.

“1 Way Flight” featuring Tommy Richman reaches the midway point of the album teaming up over this synth-driven beat Tommy himself made so they can get romantic while “5 Star” talks about giving his new bitch $50K to spoil herself when hitting up the store. The lead single “Something I Need” blends trap & R&B to tell his partner that she’s in passion of something he requires while “Trickin’” talks about looking for money on a hunt & running up his bag.

FNZ brings a vibrant aura to “She da Baddest” obsessing over this woman’s beauty while the title track talks about people getting the wrong perception of him. “Spit Propane” featuring Gunna feels ironic since the latter’s music been declining for almost 5 years already while “Pink Tops” talks about his lifestyle. Things improve when he makes it clear “My Heart” isn’t to be fucked with over a London on da Track instrumental & “Hating on Me” concludes the album sending a message to his detractors.

Would I consider G.M.F.U. (Got Me Fucked Up) to be superior or on par with Qrömelife merely 6 weeks earlier? Of course not, but I certainly think people will get a lot more outta if than Haunted by Fame last fall. There’s only a small handful of moments where the production does very little for me as opposed to most of it falling flat throughout the previously mentioned EP, but Offset locks in for a focused response to the people who’ve taken him for a fool in the past year regardless of not every guest knocking it ojt the park with their performances.

Score: 3.5/5

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