Drake’s HABIBTI (FOMO) Turns a Short Film Into Four Songs

 Five months after dropping three albums in one night, Drake gives the R&B leg of the trifecta a deluxe edition — and one of the four new tracks is worth the whole exercise.

October 3, 2026 · 5 min read

On October 2, four songs that had been circulating as ripped-from-YouTube audio since mid-September finally landed on streaming, packaged as HABIBTI (FOMO). It’s a deluxe of HABIBTI — the 11-track, 36-minute R&B record Drake surprise-released on May 15, 2026, the same night he dropped ICEMAN and MAID OF HONOUR.

The deluxe adds four tracks: “Solar Eclipse,” “Quebec,” “Cold Shoulder,” and “Classic PT2.” HABIBTI is now 15 songs and 49 minutes. That’s it — no re-recording, no remix album, no eleventh-hour guest verse bolted on to manufacture a second news cycle. It’s a small, tactical release, and it happens to contain the best thing Drake has put out this year.

What the original was

May 15 was the strangest release date of 2026. Drake put out three full albums at once and became the first artist ever to hold the top three spots on the Billboard 200 simultaneously — ICEMAN at No. 1, HABIBTI at No. 2, MAID OF HONOUR at No. 3. HABIBTI moved 114,000 album-equivalent units in its first week (108,000 of that streaming, 6,000 pure sales), and it opened at No. 7 in the UK, No. 6 in Australia, and No. 5 in New Zealand.

The three records were deliberately different animals. ICEMAN was the rap album, MAID OF HONOUR leaned on a club aesthetic, and HABIBTI — Drake’s eleventh studio album, his first solo work since For All the Dogs — was the R&B one. Its title is an Arabic term of endearment, roughly my darling, and the record plays like a loverboy album in the old sense: slow, expensive, mood-setting.

Critics were not unanimous. Pitchfork’s Matthew Ritchie gave it a 6.5 and called it “alternatingly hypnotic and hollow,” praising the tenderness in “WNBA” and “High Fives” while calling “Hurr Nor Thurr” and “Classic” middle-of-the-road. NME’s Kyann-Sian Williams liked the atmosphere but concluded it “settle[s] for vague luxury melancholy.” Consequence was harsher still, and marked it a D. Rolling Stone’s Jeff Ihaza was warmer, arguing the album “embrace[s] the R&B loverboy persona that audiences first came to love him for.”

Where the four new songs came from

On September 15, Drake premiered Fear of Missing Out — less a narrative film than an anthology of music videos drawn from all three May albums, with seven unreleased songs folded in. Two of them, “Solar Eclipse” and “Quebec,” immediately escaped into the wild as fan rips eager for a streaming release.

Drake confirmed the plan while streaming a gambling session on Kick, in the least ceremonious album announcement of his career: “Go watch FOMO. It’s a bunch of songs coming to streaming on Thursday... all the songs that you guys have been asking [about]. Well, not all of them. Enough of them are coming.”

He didn’t invent the move. A week earlier, Taylor Swift had packaged four tracks from The Life of a Showgirl as The Encore. In 2026, the deluxe has become less a commercial afterthought than a scheduled second act.

The four songs, ranked by how badly you need them

“Cold Shoulder” (feat. Don Toliver, with Yebba) — the one. Billboard called it “the crown jewel of FOMO,” and it earns that. Toliver shows up twice on this release, and both appearances are worth the price of admission: here he and Drake trade the kind of wounded, sliding hooks that make the album’s R&B centre of gravity feel deliberate rather than default. Yebba’s presence lifts the back half into something closer to gospel than to a rap feature.

“Solar Eclipse” (feat. Don Toliver) — Drake interpolates Ella Langley’s “Choosin’ Texas,” which Billboard notes has spent a record 24 weeks atop the Hot 100, and rebuilds it as a woozy, grungy R&B track. The themes survive the translation intact: a man drinking his way through watching someone slip away. It is derivative in the most confident possible way.

“Quebec” — an interstitial that has somehow become the most argued-about track of the batch. The FADER called it “the head-and-shoulders highlight from the entire batch,” and it’s easy to hear why: the first minute is drumless, just a wisp of melody and Drake’s flow skipping across an invisible grid, and when the kick finally lands it changes the temperature of the whole song. The lyrics are pure late-period Drake — “Bring you to my crib, it’s a cathedral in here,” a private jet that only seats 40 — but there’s an unease under them that makes the flex interesting instead of tiring. PARTYNEXTDOOR reportedly supplies the background vocals.

“Classic PT2” — the archival one. A second pass at HABIBTI’s “Classic” that was reportedly left on the cutting-room floor in May. This version strips out the original’s halftime beat switch and its Jus’ Cauze sample, adds a second verse, and brings back the chorus that was the best thing about the first one.

Who should hear it

If you came to Drake through ICEMAN for the bars, this won’t convert you — the deluxe doubles down on the softest album of the three. If you’re the kind of listener who still puts on Take Care and So Far Gone when it rains, this is the release that vindicates the whole May experiment: four songs that argue HABIBTI was the album out of the three that deserved a second look.

Start with “Cold Shoulder.” Then “Quebec.” Then go back and listen to “Classic” and its sequel back to back and pick a side, because everyone else already has.