Machine Gun Kelly’s Hip-Hop Comeback: Jack Harlow Diss Sparks Debate on Influence and Authenticity

Machine Gun Kelly (MGK), born Colson Baker, has officially marked his return to the hip-hop scene with a provocative freestyle that has sent ripples through the music industry. After a significant hiatus from rap, during which he successfully navigated the pop-punk landscape, MGK’s comeback is anything but subtle. He kicked off this new chapter by seemingly taking a direct shot at rapper Jack Harlow, accusing the “First Class” hitmaker of borrowing heavily from Drake’s signature style and flow.

For years, many speculated that Machine Gun Kelly’s highly publicized feud with hip-hop titan Eminem might have prompted his pivot away from rap. However, with his recent “Renegade Freestyle,” released on May 6, the 33-year-old artist appears determined to re-establish his presence in the genre, and he’s doing so with characteristic boldness. The freestyle features lines that critics and fans alike have interpreted as a clear diss aimed at the 25-year-old Louisville native:

“I see why they call you Jackman/ you jacked man’s whole swag / Give Drake his flow back / I eat rappers like Pac-Man.”

These pointed lyrics immediately ignited a conversation about authenticity, influence, and originality within hip-hop. MGK’s accusation implies that Harlow lacks a unique artistic identity, suggesting he merely mimics established styles rather than forging his own path. The reference to Drake, one of the most influential and commercially successful artists of the past two decades, adds significant weight to the claim, touching upon a sensitive subject in an industry where originality is often paramount. It’s a challenge that cuts deep, questioning not just Harlow’s talent but his fundamental artistic integrity.

Jack Harlow’s “Jackman” and the Bold Eminem Comparison

The “Jackman” line in MGK’s freestyle is an undeniable nod to Jack Harlow’s recently released album of the same name. This album, which dropped shortly before MGK’s diss, features the track “They Don’t Love It,” a song that itself contains a significant and bold claim. In the track, Harlow confidently proclaims himself to be the greatest white rapper since Eminem. This assertion immediately drew attention, placing Harlow in a lineage occupied by one of hip-hop’s most legendary and controversial figures.

Specifically, Harlow rapped, “The hardest white boy since the one who rapped about vomit and sweaters,” a clear and unmistakable reference to Eminem’s iconic track “Lose Yourself” from the movie *8 Mile*. The lyrics to “Lose Yourself” famously depict Eminem’s character battling pre-performance anxiety, including vomiting, before taking the stage in a sweater. By drawing this parallel, Harlow was not only acknowledging Eminem’s immense influence but also positioning himself as his rightful successor, suggesting he possesses the same raw talent and lyrical prowess that defined Eminem’s early career. He didn’t stop there, adding, “And hold the comments ’cause I promise you I’m honestly better than whoever came to your head right then.” This line further cemented his confidence, daring listeners to challenge his self-proclaimed superiority and inviting direct comparisons to other prominent white rappers in the genre’s history.

Harlow’s comparison to Eminem is a strategic, if audacious, move. Eminem’s legacy as a lyrical powerhouse and cultural icon is undeniable, and for a rising artist like Harlow to stake such a claim speaks volumes about his ambition and self-belief. It also sets a high bar, inviting intense scrutiny from fans and critics alike who will inevitably compare his skills and impact to those of the “Rap God” himself. This declaration positions him at the center of a debate about skill, authenticity, and racial identity within hip-hop, a conversation Eminem himself has navigated throughout his illustrious career.

The “Drake-ification” of Jack Harlow: An Ongoing Debate on Influence

Beyond the Eminem comparison, Jack Harlow has also frequently been linked to Drake, a connection Machine Gun Kelly explicitly targeted in his diss. This isn’t a new observation; critics and fans have noted stylistic similarities for some time. For instance, in an essay for The Fader, writer Larisha Paul highlighted this phenomenon with the release of Harlow’s 2022 album, Come Home The Kids Miss You. Paul observed, “From the sidelines of Louisville, he’s watched Drake’s dominance proliferate since he was 11 years old – studying the ultimate crossover artist’s transformation and taking notes.” She further concluded, “Now, he has access to the oracle himself, and we’re seeing the Drake-ification of Jack Harlow play out in real-time.”

The term “Drake-ification” points to more than just a passing resemblance; it suggests a fundamental adoption of Drake’s approach to music, celebrity, and even persona. Drake is renowned for his melodic flow, introspective yet boastful lyrics, ability to blend singing and rapping, and a knack for creating commercially successful, culturally pervasive anthems that dominate airwaves and streaming charts. Elements of this can indeed be seen in Harlow’s work, particularly his smooth, often laid-back delivery, a tendency towards melodic rap, and a focus on catchy, radio-friendly hooks that appeal to a broad, mainstream audience. MGK’s diss capitalized on this existing critical discussion, turning a nuanced observation into a direct accusation of artistic imitation and lack of originality, effectively fanning the flames of an already simmering debate.

While some argue that artists naturally draw inspiration from their predecessors, seeing it as a form of homage or a natural evolution of genre, MGK’s critique suggests that Harlow has crossed a line from mere influence into outright appropriation. This debate over originality, homage, and outright artistic theft is a perennial one in hip-hop, a genre built on sampling, interpolation, and a constant evolution of styles. The genre often celebrates those who innovate while scrutinizing those perceived to be simply recycling existing sounds. Whether Harlow’s style is genuinely derivative or simply reflective of contemporary trends shaped by artists like Drake remains a central question that MGK’s freestyle has forcibly brought to the forefront, demanding a response or further artistic differentiation from Harlow himself.

Echoes of “Control”: The Potential for a New Rap Battle

The intensity of MGK’s diss raises the significant question of whether “They Don’t Love It” and the broader conversation around Jack Harlow’s claims will spark a new wave of responses, akin to the seismic impact of Kendrick Lamar’s verse on Big Sean’s 2013 track, “Control.” That infamous verse saw K.Dot directly call out eleven prominent emerging rappers by name, declaring his intent to “murder” them lyrically and establishing himself as a dominant force in the genre. The verse led to numerous responses and counter-disses, significantly shaping the hip-hop landscape of that era by igniting a competitive fire.

While Jack Harlow’s statement in “They Don’t Love It” is more of a self-proclamation than a direct challenge to specific artists, MGK’s response could potentially escalate into a similar situation. A direct beef could force other artists to take sides, offer their opinions, or even contribute their own perspectives through music, transforming a one-sided diss into a multi-faceted lyrical conflict. This kind of lyrical combat, while often controversial and sometimes polarizing, has historically been a driving force in hip-hop, pushing artists to sharpen their pens, hone their delivery, and ultimately prove their mettle in the crucible of public scrutiny. It tests an artist’s ability to defend their reputation and artistry, making such feuds an integral part of hip-hop’s competitive spirit and cultural fabric.

The Lingering Shadow of Eminem: MGK’s Own Battle History

It’s impossible to discuss Machine Gun Kelly’s latest diss without acknowledging his own well-documented and fiery feud with Eminem, a rivalry that significantly impacted his career trajectory and public perception. MGK’s “Renegade Freestyle” even contains a subtle, yet unmistakable, reference to this past conflict. He raps, “The Crosshair’s a little shaky, they missed me by two inch,” a line that *Genius* quickly noted as a potential callback to Eminem’s 2018 diss track, “Killshot.” The artwork for “Killshot” famously depicted MGK’s face in the center of crosshairs, visually symbolizing Eminem’s intention to lyrically “kill” his opponent. By implying that Eminem “missed,” MGK asserts his resilience and survival despite the formidable attack, framing his past as a testament to his toughness rather than a defeat.

The beef between Eminem and MGK initially stemmed from a seemingly innocuous, yet deeply problematic, 2012 tweet where MGK made a comment about Eminem’s then-16-year-old daughter, Hailie Jade. He described her as “hot as f***, in the most respectful way possible cuz Em is King,” a comment that Eminem later stated he found deeply disrespectful and unsettling, especially concerning his daughter’s privacy and youth. While years passed without direct confrontation, the underlying tension simmered, occasionally surfacing in veiled references and perceived slights.

The conflict fully erupted in 2018. MGK threw the first significant shade on Tech N9ne’s track “No Reason,” where he appeared to diss Eminem’s iconic “Rap God” song with the line, “You just rap, you’re not Gods.” Eminem swiftly retaliated on his album *Kamikaze* with the track “Not Alike.” In it, he directly addressed MGK, abandoning his usual use of subliminal messages: “But next time you don’t gotta use Tech N9ne / If you wanna come at me with a sub, Machine Gun / And I’m talkin’ to you, but you already know who the fuck you are, Kelly / I don’t use sublims and sure as fuck don’t sneak-diss / But keep commenting on my daughter Hailie.” This response made it explicitly clear that Eminem was not only aware of MGK’s comments but also deeply offended by the persistent mentions of his daughter, escalating the beef into personal territory.

MGK quickly fired back with his own full-fledged diss track, “Rap Devil,” a song that boldly challenged Eminem’s status and longevity. Lyrically, MGK asserted his youth, relevance, and ability to attract a new generation of fans: “Hello Marshall, my name’s Colson / You should go back to Recovery (Wouh) / I know your ego is hurtin’ / Just knowin’ that all of your fans discovered me (Hi) / He like, ‘Damn, he a younger me / Except he dresses better and I’m ugly / Always making fun of me’ / Stop all the thuggery, Marshall, you livin’ in luxury (Ayy).” The track was an immediate sensation, showcasing MGK’s ability to craft a compelling narrative and deliver impactful bars that resonated with a younger demographic. However, less than two weeks later, Eminem delivered his devastating counter-response, “Killshot,” which became one of the fastest-viewed hip-hop videos on YouTube, effectively ending the public perception of the beef in his favor and cementing Eminem’s dominance in lyrical warfare.

While Kelly publicly claimed Eminem “missed” with “Killshot,” he later acknowledged the commercial and cultural impact, particularly on his subsequent hip-hop album, *Hotel Diablo*. In a 2020 interview with Dave Franco, MGK reflected on the album, stating, “Hotel Diablo…as a hip-hop album, it’s flawless front to back, and also a hint at the evolution of how I went into a pop-punk album.” He then candidly added, “But it was coming off the tail-end of that infamous beef [with Eminem]. So no one wanted to give it the time of day.” This admission reveals the profound effect the Eminem feud had on his hip-hop career, suggesting it was a significant factor in his decision to explore other musical avenues and reinvent his artistic identity.

From Pop-Punk Success to Multi-Genre Maverick

Following the perceived fallout and public sentiment from the Eminem beef, Machine Gun Kelly embarked on an unexpected, yet highly successful, venture into pop-punk. In 2020, he released *Tickets To My Downfall*, an album that not only topped the charts but also garnered him a new legion of fans and significant critical acclaim within the rock community. This genre switch was a bold and calculated move, effectively revitalizing his career and showcasing his versatility as an artist beyond the confines of rap. He followed this success with *Mainstream Sellout* in 2022, further solidifying his presence and acceptance in the rock world, dispelling notions that his initial pivot was merely a fleeting experiment.

However, MGK’s rock career wasn’t entirely free of controversy. True to his confrontational nature, he famously feuded with Corey Taylor, the frontman of the iconic metal band Slipknot, adding another chapter to his history of public rivalries and cementing his image as an artist unafraid to challenge others. Despite the commercial successes and a newly loyal fan base in rock, at the 2022 American Music Awards, MGK made a surprising announcement, indicating that he was ready to step away from rock, at least temporarily, and return to his hip-hop roots.

During his acceptance speech, MGK addressed his genre fluid identity with a poetic metaphor that captured his artistic philosophy: “There have been some people in the rock community who have called me a tourist, but they’re wrong. I’m a rocket man,” he asserted with conviction. “These last two rock albums were me going to the moon, but I’m not done exploring the universe yet, and I am all genres. I’ll see you on Mars.” This statement eloquently articulated his artistic philosophy – one that transcends rigid genre boundaries and embraces continuous evolution and exploration. It signaled his intention to reclaim his place in rap, not as a retreat or a failure in rock, but as another deliberate phase of his boundless musical journey, a testament to his ambition to conquer all sonic landscapes.

Conclusion: The Evolution of a Controversial Artist and the Future of Rap

Machine Gun Kelly’s hip-hop comeback, dramatically marked by his provocative diss toward Jack Harlow, is more than just a renewed rivalry; it’s a declaration from an artist refusing to be confined. By directly challenging Harlow’s authenticity and his perceived “Drake-ification,” MGK re-enters the rap arena with a clear message: he’s here to stir the pot, generate discussion, and reassert his presence, just as he has throughout his controversial and dynamic career.

This latest development intertwines with the complex narrative of MGK’s artistic journey, from his early days in rap, through the high-stakes beef with Eminem that ostensibly pushed him into pop-punk, to his current assertion of being an “all genres” artist. His journey highlights the constant evolution and adaptation required in the music industry, as well as the enduring power of lyrical conflict to capture public attention and redefine careers. It showcases an artist constantly seeking to defy expectations and carve out his unique space, regardless of the criticism or genre purism he faces.

As the hip-hop world watches closely, the immediate question remains: Will Jack Harlow respond to MGK’s accusations, igniting a new, full-blown rap beef that captivates audiences? Or will this serve as a singular, attention-grabbing statement from Machine Gun Kelly, solidifying his return as a formidable and unapologetically confrontational force in rap without a direct counter? Regardless of the immediate outcome, MGK has successfully ensured that all eyes are once again on him, proving that even after genre shifts and intense feuds, his ability to generate buzz, spark debate, and command attention remains as sharp and potent as ever. His return promises to add another intriguing layer to the ever-evolving narrative of contemporary hip-hop.