20 Best PartyNextDoor Songs

Frazier Tharpe

Is the return of PartyNextDoor imminent? After the OVO singer went missing in 2018, we have received a couple hints this year that new PND music will be arriving soon. First, producer Neenyo hinted in April that new music is “coming.” Then, during the second night of OVO Fest this August, Drake told the Toronto crowd, “New PND on the way!” So, as we await the release of new music from the multi-talented Canadian artist, we took a moment to rank the strongest efforts of his career. These are the 20 best PartyNextDoor songs, ranked.

  • Drake f/ PartyNextDoor, “Preach”

    Album: If You’re Reading This It’s Too Late
    Producer: PartyNextDoor

    With no disrespect to his brilliant flip of Ginuwine’s “So Anxious” on If You’re Reading This It’s Too Late opener “Legend,” PartyNextDoor’s scene-stealing guest spot on “Preach” represents one of the moments he went from Drake’s protégé to a rising R&B star in his own right. Beyond producing the track, Party swiped it out from under his label boss with sedated singing and humorous bars (“You old n****s boring as bones/I get her hot like wasabi”). By the time Drake grabbed the mic and began his verse, mirroring PND’s delivery in the opening sequence—“Still in Miami, most of these girls are too messy”—the damage had already been done: “Preach” was a song by Drake, but only in the strictest legal sense. Beyond that, it belonged to PartyNextDoor, unconditionally. —Brad Callas

  • Drake f/ PartyNextDoor, “Wednesday Night Interlude”

    Album: If You’re Reading This It’s Too Late
    Producer: PartyNextDoor

    The midnight surprise drop of If You’re Reading This It’s Too Late worked as a caffeine shot for all of us, prompting everyone to stay up and listen through 17 new songs. Even though Drake assimilated to trap on the majority of the tape, he did manage to sprinkle in some R&B on tracks like “Legend,” “Jungle,” and PartyNextDoor’s “Wednesday Night Interlude.” The crackling sound of vinyl spinning in the beginning darkens the mood, preparing you for the journey to follow. Written and produced by PartyNextDoor, “Wednesday Night Interlude” mirrors the acceptance of loneliness in light of hope; a natural feeling that comes within the world of dating. The production sounds like it was composed on a three-piece drum set, giving Party ample room to soak his voice into the beat. —Kemet High

  • PartyNextDoor, “Grown Woman”

    Producer: PartyNextDoor & Neenyo

    In some ways, “Grown Woman” is a judgmental song about Party criticizing women who allow their friends to influence the decisions they make in their own love life. “Why you letting them think for you? When you’re a grown ass woman,” he sings. But despite the condescending tone, Party manages to lure you in with a hypnotizing beat that somehow convinces you that maybe you’ve allowed others to dictate your personal life. By the end of the track, you’re left feeling like you should ignore or dismiss your friend’s unsolicited advice and follow your heart (whatever that means). If you’ve ever left an argument feeling like you were manipulated into being the bad guy, you’ll be able to catch a vibe on this song. Sure, that may sound annoying, but the fact that it’s incredibly relatable. —Jessica McKinney

  • PartyNextDoor f/ Drake, “Recognize”

    Producer: PartyNextDoor

    When PartyNextDoor’s run is over with, “Recognize” will go down as one of his most popular songs. Despite the track being a little lyrically underwhelming on Party’s end, “Recognize” was the song that not only broke him into the mainstream realm, but earned him his first ever platinum plaque. It utilizes vocal samples from Top Cat’s “Request The Style (Project One Remix),” providing a hint of Caribbean flavor that Drake would go on to forge on his next album. Party freely rides over the beat he created, and Drake takes the track over the top with his contribution: “Let's plan somethin' out when I come back from Europe/Swear I'm withholdin’ my urges, ’til you get this one-on-one shit like your name Katie Couric/I gotta get you those snow tires for your Mercedes, I'm glad you reminded me, baby/All of these things slip my mind; it's been crazy/Bite on your shoulder, I know that's your favorite.” Come on, that’s classic Drake right there. Out of Trey Songz, The Weeknd, and PartyNextDoor, Drake might be at his best when he’s featured alongside the man he actually signed under OVO. —Kemet High

  • PartyNextDoor f/ Travis Scott, “No Feelings”

    Album: N/A
    Producer: Boi-1da & Vinylz

    This is where PartyNextDoor opened the door for Jahron (his birth name). “Smoke so much purp that I just might go colorblind/Dick so long, you can land a plane on it, I'm just being honest,” he rapped with unusual rawness. This was released in the summer of 2015, years before Party’s rap style was further introduced on P3. He recruited Travis Scott for “No Feelings,” which took the shape as an ode to groupies, weed, and codeine. The effort represented PND’s rap debut, proving that he could play on the same field as hip-hop’s newest talents (that same year he eventually went on to make music with Rich the Kid, Quavo, and Lil Yachty). The production resembles a broken jukebox, skipping between delayed hi-hats and bass drops, providing a perfect pocket for both of these artists to work within. When the song originally surfaced on SoundCloud, I instantly Googled to check its authenticity. To my surprise, this was no mash-up, and it lived up to high expectations. —Kemet High

  • PartyNextDoor, “Options”

    Producer: PartyNextDoor

    Party takes a page from Drake’s playbook with “Options.” On the four-minute track, which appears on PARTYNEXTDOOR TWO, PND appeals to a woman who is desirable to the masses. Although he acknowledges that she could pick anyone she wants, he hopes that she ultimately sides with him. What makes this so different from any other sappy love song is that Party isn’t desperate for her love. “They do everything to make me want them, you do the total opposite. You do everything to make me, like, want to run away from you,” a woman says on the interlude. And she’s not the only one enticed by Party’s laid back approach. His nonchalance is actually what draws fans into this song as well. What’s more appealing than someone that appears to be unbothered and uninterested? —Jessica McKinney

  • PartyNextDoor, “Wus Good / Curious”

    Producer: PartyNextDoor

    PND is a master at addressing the individual and the group on one song. He flexes that duality on “Wus Good / Curious.” On the first part of the self-produced track, Party singles out a woman who he hopes to become intimate with. You can see a bit more aggression shining through than on his past hits, but it doesn’t get in the way of the sex appeal that is wrapped up in the first half of the track. And just when you think it’s over, Party shows he has a little more stamina left for part two. On “Curious,” he flips the perspective, speaking to an audience about the object of his affection. While there may be two audiences on the three-minute track, the narrative is cohesive. Together, both parts set the perfect tone for a late-night drive. —Jessica McKinney

  • PartyNextDoor f/ Drake, “Come and See Me”

    Album: PARTYNEXTDOOR 3 (P3)
    Producer: 40

    The highest-charting single of PartyNextDoor’s career, “Come and See Me” is the moment when the Prince of the 6 truly seemed ready for superstardom. By the spring of 2016, Party had emerged as a talented songwriter and producer, crafting hits for stars like Rihanna (“Work,” “Sex With Me”) and Drake (“Legend,” “Preach,” “With You”). Naturally, the lead-up to his third studio album, PARTYNEXTDOOR 3, was surrounded by massive hype, which only increased upon the release of its first single, “Come and See Me.” While the track wasn’t particularly groundbreaking or new in content or aesthetic, it was yet another testament to Party’s masterful art of setting a vibe. Backed by 40’s moody, atmospheric production, Party’s voice is lush with emotion, and Drake’s guest verse adds more melancholy, as the song doubles as the loneliest booty-call you’ve ever heard. As always, no rap pairing gets in their feelings better than these two. —Brad Callas

  • PartyNextDoor, “Don’t Run”

    Album: PARTYNEXTDOOR 3 (P3)
    Producer: Baba Stilz, Bizness Boi, Sevn Thomas, & L8 Show

    Disclaimer: Please excuse the “You’s a vegan but you going ham” line that opens the song. Luckily, every second following that disappointment of a bar elevates “Don’t Run.” Party’s first album, P3, reminds me a lot of Drake’s IYRTITL in the sense that upon the first listen, the project sounds like it’s a disappointment until you run it back and give it the space appreciate every little thing you missed the first time. “Don’t Run,” with the exception of “Nobody” and “Only U,” differs from the rest of the project by being an immediate hit from the first listen. Similar to Drake in another light, PND is best at hitting us with eerily sensitive takes on his love life. Something as simple as, “Listen, all I wanna do is smoke with you/Sit down, have dinner with the folks with you,” feels like gospel on a track that will evoke your spirit as it connects. This is the kind of Party that you play while you’re alone. Not even a Jansport could represent how deep he stepped into his bag for this one. —Kemet High

  • PartyNextDoor f/ Drake, “Over Here”

    Producer: 40 & PartyNextDoor

    From 2013 to 2015, OVO actually looked like it could become the formidable label powerhouse that Drake daydreamed it could be. Sure, no one will ever be describing the Owl Factory as, “the new Cash Money, the new Roc-a-Fella,” like Drizzy boasts in this disrespectfully excellent verse, but songs like “Over Here” tease what could have been. This is label chemistry at its fucking finest, with Party and Drake doing what they do best on a beat (co-produced by PND and 40) that sounds like midday Collins Ave on wax. That glorious hook, paired with Drake bars like, “I'm back boy for real, I'm that boy for real/I got hits nigga, you just a bat boy for real”?! A video probably would have made this a hit. —Frazier Tharpe

  • PartyNextDoor, “Peace of Mind”

    Album: COLOURS 2
    Producer: OZ, PartyNextDoor & G. Ry

    Some people will tell you Party lost it a long time ago, but if there was ever a sure sign that he’s more than capable of getting it back, it’s “Peace of Mind,” a spiritual sequel to “Muse.” More chill than sensual, Party pays tribute to his special one that never wavered, even when he was on his bullshit. At his best, PND has a knack for crooning casually devastating, or otherwise wild developments, with a matter-of-fact reserve. Put “I did crazy things, and she still waited on me” up in the rafters with the best of the PARTYNEXTDOOR TWO era. “Peace of Mind” was released in 2017, on the more recent end of his output, before he went totally ghost. He’s still got it. —Frazier Tharpe

  • PartyNextDoor f/ Travis Scott, “Jus Know”

    Album: COLOURS
    Producer: PartyNextDoor

    PartyNextDoor is a fucking scientist. I’ll admit a brief moment of basic-ness: When “Jus Know” first dropped and someone made an edit with Party’s voice at the correct pitch, I scooped it up, thinking I'd appreciate the song more, and I’m still ashamed to this day. What Party does to his voice here actually just helps sell the petulance and scorn that much more. It’s a genius bit of experimentation and orchestration, as was enlisting Travis Scott for an equally nonsensical few bars of emotive wailing. We don’t need legible lyrics or voice pitches: the emotion says it all. And even with the effects, the songwriting reveals new gems on every listen, from: “We were the original Kanye and Kim, now it's Drizzy and Rih” to the way son deploys “even details bout the wedding ring“ like a gut punch plot twist. I’ll say this hot take and end mine: Travis and PND > Travis and the Weeknd. —Frazier Tharpe

  • PartyNextDoor, “Kehlani’s Freestyle”

    Album: N/A
    Producer: Neenyo & G. Ry

    Like his OVO label boss, PartyNextDoor has made a career of dropping mood music in the wee hours of the morning. And on this 2015 SoundCloud loosie, he takes another page out of Drake’s playbook (following in the footsteps of “Bria’s Interlude” and “Paris Morton Music”), crafting an emotional ode to then-rumored girlfriend, Kehlani. Released in June 2015, the sensual, meditative slow-burner serves as an unofficial sequel to “Girl From Oakland,” as Party hints about the end of their relationship (“Gin got me feeling real honest/Now that me and shawty platonic”). Over minimal production that sounds equal parts haunting and soulful, he laments on the struggles of having to date someone famous (“Who did you love that I gotta shake hands with?/Who did you love that I gotta make plans with?”). Knowing now how everything played out—the alleged infidelity, the apparent suicide attempt, the back-and-forth barbs—the track is even more eerie and unforgettable. —Brad Callas

  • PartyNextDoor, “Girl From Oakland”

    Album: COLOURS
    Producer: PartyNextDoor

    Is it about Kehlani? Probably. Is it a little strange to listen to now in light of all that’s happened? Absolutely. But is it a great song? Unquestionably. Few songs better capture Party’s self-righteous swagger (“I’m working on me”), paranoia, and powers of persuasion. What do you say to a girl that’s heard it all before? Play her this song. —Shawn Setaro

  • PartyNextDoor, “Persian Rugs”

    Album: N/A
    Producer: G. Ry

    How did one of the decade’s best sex songs fail to make the final tracklist of PARTYNEXTDOOR TWO? We have yet to receive a good explanation. Yes, Party’s 2014 one-off single “Persian Rugs” is that good. In fact, it’s one of the best songs he’s ever recorded, a sensual masterpiece that sees OVO’s secret weapon lace the bedroom ballad with his smooth, subtly harmonized vocals. As such, Party proves that his voice, melody, and minimalist production are all he needs for greatness. Consider the power of “Persian Rugs”: At the time of the song’s release, United States sanctions against Iran prevented all Persian rugs—whether antique or brand-new—from entering the U.S., regardless of how long they had been outside Iran. Two years later, in January 2016, President Obama signed an executive order lifting those sanctions. You think that was a coincidence? I doubt it. —Brad Callas

  • PartyNextDoor, “SLS”

    Producer: PartyNextDoor & G. Ry

    Real recognizes real, right? PARTYNEXTDOOR TWO highlight “SLS” samples Dru Hill’s 1996 hit “Share My World,” a record that holds writing and production credits from the legendary Keith Sweat. Named after the luxury hotel, “SLS” is administered with a slow rise. The beat peaks only for the final verse, which is a replica of the first. However, the production is so smoothly explosive that somehow the third verse hits even harder than it did at the beginning. Party’s distorted vocals layered underneath are almost absorbent enough to stand alone, adding another slept on element to this song. Each time you run “SLS” back, you’ll question how words put together so gently slap so hard. —Kemet High

  • PartyNextDoor, “Thirsty”

    Producer: PartyNextDoor

    PND is both in and out of his comfort zone on this one, and the combination is inspiring. He’s got the slowed-down sample (Missy Elliott in this case) and the lyrical come-ons. But harmonically, he’s in a different vein than normal. He’s relying on standard rock song chord changes that wouldn’t be out of place in a Led Zeppelin ballad. But he manages to take the minor cadence and make it his own. That’s not the easiest thing with any trope, but especially not with one, which is just shy of being an Axis of Awesome skit. —Shawn Setaro

  • PartyNextDoor, “West District”

    Album: N/A
    Producer: 40 & PartyNextDoor

    After lacing Drake with a classic Toronto nighttime drive beat on “Days in the East,” Party took his track right back and delivered an arguably better take. (Although, let's be real: Knowing this camp, “West District” probably existed first.) Where Drake used the song to wax poetic about his would-be ride-or-die chick, PND veers left with a harder-edged version. He admits that he’s going out of his way to compensate for emo feelings (“Tell me should a real nigga feel this way?”) by doubling down on the tough talk. “West District” is like one of those Entourage episodes where E would try to offset his simp nature by going hard with the boys, only to end it right back obsessing over Sloan. Yeah, Party's riding with his niggas and their trigger fingers’ function, but by the end of the song, he’s right back to pledging truth and trust to bae. Sometimes Party packs his songs with more gunplay than the Heat shootout, but after listening to “West District,” I'm convinced he wouldn’t be able to leave in 30 seconds flat. —Frazier Tharpe

  • PartyNextDoor, “Muse”

    Producer: PartyNextDoor

    “Muse” is not a subtle song. It begins with “Girl, I can see you’re stressed/Come rely on me for sex” and ends with a chopped and screwed-style Ginuwine sample. But who needs subtlety when you’ve got all this? There are a lot of rhythm and feel changes in just under three and a half minutes, from 2/4 to 3/4, from half-time to double-time, and back in an instant. Trap hi-hats show up, and then promptly vanish. Words appear in the mix and then echo back onto themselves into nothingness. And the whole time, Party keeps shifting between talking and singing, making an already shockingly direct and intimate song feel even more revealing. “Muse” is a pure distillation of what PND does best, even while remaining among the singer’s most musically inventive tracks. It’ll be there for you to reveal its layers, time over and time again. —Shawn Setaro

  • PartyNextDoor, “Break From Toronto”

    Producer: PartyNextDoor

    What is there to say about this song in a short blurb, when it really deserves a 1,000 word essay? When PARTYNEXTDOOR dropped, we’d already heard “Make a Mil” and “Over Here,” so we had an idea of what to expect, but that first listen through in its entirety was a revelation. And “Break From Toronto,” arriving near the tape’s midpoint, is undoubtedly the crown jewel of both the project and Party’s career. He takes what was already a heavenly composition, courtesy of a Miguel interlude, and flips it from a soothing serenade into an electrifying late-night text on wax. Clocking in at just under 100 seconds, its brevity is a flex unto itself. The replay value isn’t implied; it’s a necessity. —Frazier Tharpe