JID’s God Does Like Ugly meanders through solid segments, resulting in an overall pleasant listen.
God Does Like Ugly is the fourth studio album by rapper JID. It was released on August 8, 2025.
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“It took a fucking ceiling challenge to show I’m above my peers.” Forgive me for not getting into too much detail with my thoughts per track, but keeping it simple, the track is nice. Decent beat, decent rapping, decent writing. There is a soul-sample interrupt that kind of throws you off a bit, but overall it’s a cool track.
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Things are a little tamer this time, but it’s still neat.
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Here’s another cool track. So far, so good: no stagnant beats, no lifeless performances. However, not that this is a complaint, but the album doesn’t seem to want to reach outside any pre-established standard-rap-album boundaries.
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This one’s an okay track. Pusha T and Malice do well to complement the track’s introspective energy with their performances.
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“I be thinkin’ maybe Martin was wrong, Malcolm was right.” Overall, this is yet another cool track, but what makes this stand out a bit is its lightly exciting second half.
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This track effectively maintains the album’s flow. Nothing particularly extraordinary or subpar rears its head here.
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JID, Ciara, and EarthGang loiter calmly over a catchy Miami-bass production for the entirety of this track’s three minutes, pivoting the album to a singing-focused direction.
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Don Toliver and JID exchange sung-rap verses through alternating vocal filters over a nocturnal, lightly trippy production. JID’s longer verse on the track is easily the highlight of the track performance-wise, but that isn’t to diminish the track’s other pleasant qualities.
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The track opens with decent singing from Ty and JID, followed son after by a pleasant choir on the chorus. 6LACK’s verse feels a bit isolated, but JID quickly restores the light on the track with his vocals supported by pockets of choral ad-libs.
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JID and Jessie flirt through sung verses over a standard trap-R&B production, concluding their rendezvous with a Spanish-language outro. The nasal and high-pitched ad-libs add an unpleasantly cheesy finish to the track.
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There’s decent singing on this brief interlude, concluding the album’s singing-focused middle portion.
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The rapping returns with a modest turn-up-inducing tune.
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The song starts off with a lightly pleasant but puzzling sung verse from Mereba, but it switches almost quarter-way into the track with a stable beat supporting a decent rap performance from JID. We then get another brief soul-sample interlude before a jazz-masked beat comes in supporting JID’s more emphatic rap verse. Overall, the track is alright.
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“K-Word” is a hair-raising surprise for a penultimate track on an album that so far had served us tracks that hopped high enough over the run-of-the-mill-rap barrier.
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Safe closer.
Overall, the album has great tracks and great moments littered throughout. My only bone to pick would be the lack of synergy that pops up frequently between tracks and sometimes within tracks—take, for example, the Mereba insert at the beginning of “Of Blue.” Other than that, JID’s project is a strongly above-average batch of rap-rooted tunes for sure.
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