In Makati-bred rapper Waiian’s third album BACKSHOTS, the listener is thrust into an operating room. A doctor asks for a scalpel, a mother takes deep breaths, and a baby is born — only for the doctor to declare, “It’s lods.” It’s one of the most absurd and hilarious album openers in recent memory, but Waiian isn’t just here to make you laugh.
Over nine tracks, BACKSHOTS takes you on a journey from the sun-soaked rooftops of afternoon cookouts to the neon-lit chaos of Makati’s nightlife. If 2020’s Good Problems was about authenticity behind a facemask and 2023’s WEYAAT? explored smiling as a coping mechanism, BACKSHOTS finds Waiian back on his same rooftop, flexing like Superman with a giant face looming behind him. It’s goofy, it’s wacky, and it’s quintessentially Waiian, but don’t let the humor fool you. This ialbum is a manifesto.
For the regular Waiian fan, Good Problems was your classic boom-bap revival, while WEYAAT? showcased his razor-sharp wit. BACKSHOTS, on the other hand, is the best of both these worlds, amped up with biting commentary and shots fired at the rap game. The opener, “MALAKING BIRD,” is a satirical jab at the modern rapper archetype: macho and swagged-out with a big dick to compensate for their lack of personality. It’s Waiian at his funniest, and arguably his best.
But the album quickly shifts gears. “MAN IN THE MIRROR” delves into the quest for peace of mind, with Waiian admitting, “‘Di naman ako angel”. It’s a slow departure from his laid-back vibe, trading smooth R&B choruses for confident, outlandish hooks and a vocal delivery that demands attention.
Waiian’s lyrical prowess shines brightest when he’s wrestling with the pitfalls of love, both romantic and artistic. Tracks like “SOFTIE” and “MOTIVATIONAL QUOTES” float over nocturnal trap beats and lush plugg-influenced string sections, as Waiian questions whether the rap game will love him back, or if his passion will alienate his closest friends. By “SI LODS NA BAHALA” and “BOUNCE NAKO MAN,” he found answers. The former is a defiant anthem about independence — living at home with his mom but thriving on his own terms — while the latter is a love letter to the music venues that shaped him. Waiian isn’t just rapping; he’s mapping his journey, one bar at a time.
“Binabackshots ka ng anino”, the LIAB Studios founder quips in “LOSE MY NUMBER,” continuing the album’s recurring motifs of backshots and lodi culture. Over a moody beat, he airs out his feelings like an Instagram Story, declaring he’d rather delete your number than deal with the drama. It’s a track that encapsulates the album’s essence: raw, unfiltered, and unapologetically real.
“Your rap dreams [are a] sad excuse [for you to] not get a job,” Waiian spits over wobbly synths and squeaky percussion in the penultimate “SI LODS NA BAHALA.” It’s a line that cuts deep, but it’s also a reminder of why Waiian stands out. He’s living the dream while dissecting, questioning, and owning it — all while riding an e-bike through the streets of Makati.
Overall, BACKSHOTS is a testament to the friends who have had his back since 2013. Waiian may be taking shots, but he’s not taking them alone. And that’s what makes this album his most compelling work yet.
