Why Megan Thee Stallion’s Best Verses Don’t Always Turn Into Hits

After putting on one of — if not thee — top performance at this year's Coachella, Megan Thee Stallion dropped her new single, "Whenever," on Friday, April 25. Produced by Bankroll Got It and Shawn "Source" Jarrett, the track samples Mz. Cherry's 2004 "It's Whatever."

While Megan once again proves her lyrical prowess is unmatched, 'Whenever' also brings to light a recurring issue that's quietly holding her music back.

Proving a Point vs. Making a Hit: Megan’s Struggle

It’s no secret that I’m a fan of Megan Thee Stallion. I think she’s one of the best rappers of the new generation — male or female. She’s got the sold-out tours, the Grammys, and the undeniable talent to prove why she’s part of the Big 3 in female rap. Megan’s success cannot be ignored. But like her idol-turned-rival Nicki Minaj, she’s fallen into the trap of trying to prove a point that doesn’t need proving.

Both Megan and Nicki are such phenomenal rappers, with pens sharper than most, that sometimes it feels like the main goal of their songs is to remind us they can rap. And that's a problem.

Instead of focusing on making great songs, it feels like Meg is getting caught up in trying to out-rap internet trolls — the ones who whine about her flow, who think every female rapper should sound like a performing arts girl rapping in their sugar-and-spice, everything-nice little girl voice. These critics don’t even understand the basics, like the difference between flow and cadence. So while Megan’s busy proving a point to people with pre-saved insults in their Twitter drafts, she’s not focusing on crafting a hit that feels undeniable — and that's exactly what the naysayers want.

When we talk about real hits — the kind that live in the club, on the radio, in TikToks, in your head — it’s not just about how well you rap. It’s about how you deliver the feeling. It’s about the hook, the beat, the experience of the whole song.

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Houston, We Have a Hook Problem

Megan’s confidence in her bars (kind of like Nicki’s) has her believing she can save a weak hook or a mid beat just by rapping better than everybody else. Meanwhile, girls with way less lyrical ability are blowing up because they focus on making the hooks hook and the beats pop. That takes pressure off the verses — or covers up the fact that they can't ride the beat at all. Because at the end of the day, when you’re drunk in the club, vibing in the car, or scrolling TikTok — you’re yelling the hook, not quoting the second bar of the third verse.

The rap nerds, like myself, enjoy looking for those hidden meanings in rap verses. But the hook? The hook is for everybody. The hook brings the casual listener and the die-hards together. That’s why it matters so much.

And that’s the biggest issue with singles like “Whenever.” Megan will absolutely snap on a verse — whether she’s being clever, emotional, or just talking her shit, she always delivers — but when the hook comes around, it just feels like... whatever, bitch. There’s no real payoff. Either the hook itself falls flat, or the structure of the song just isn't catchy at all.

It’s not that Megan can’t make a full song that hits the mark. She absolutely can. Take "Bigger in Texas" — I couldn't find a single thing wrong with that track. It’s lyrical, it’s catchy, and even though it doesn’t have a traditional hook, the natural rhythm of it makes you want to rap along. It feels effortless. The only issue was the lack of real push behind it, not the quality. Or look at "Mamushi" — not super lyrical, but the beat and the hook pulled people in. She’s shown she can deliver when all the pieces come together.

Hooks Needed — Not Fewer Bars

I'm not saying Megan needs to dumb herself down. Far from it. She needs hooks and beats that are just as strong as her verses. And if that means getting a hook writer involved, fine. (Writing a hook isn’t ghostwriting anyway — if it was, every feature would count as ghostwriting.)

Or maybe Megan leans into what naturally works for her: building choruses like "Bigger in Texas," where the rhythm carries the song instead of trying to force a typical radio-ready hook. And she definitely shouldn't run to the same small circle of people writing hooks for every rap girl right now. She’s running her own label, Hot Girl Productions — that freedom should be taken full advantage of. Megan doesn’t have to listen to industry formulas. She can go out, find new talent, and build something unique.

Bars and Bangers

At the end of the day, "Whenever" isn’t a bad song. Megan’s verses show she’s still elite. But when the hook doesn’t hit, it limits the song’s ability to really take off.

Coming off a historic Coachella performance, it’s frustrating to see a single that doesn’t fully match the moment. I don’t doubt that Megan has more in the vault — and hopefully, her next release taps into what makes her so great and gives the public something they can scream, dance, and TikTok to.

Because when Megan locks in and finds the right balance between bars and bangers? She might be able to say "Muthafck the Big 3, Bitch it's just big me!"

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