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DJ Akademiks Sparks Controversy by Ranking Drake’s OVO Fest Over Kendrick Lamar’s The Pop Out

DJ Akademiks

DJ Akademiks has ignited a heated debate by declaring that Drake and J. Cole’s festivals—OVO Fest and Dreamville Fest—surpass Kendrick Lamar’s recent The Pop Out – Ken & Friends show in impact and scale. These remarks were made during a livestream clip he shared on social media this past Saturday.

“None of these ns up here got a feature with Kendrick,” Akademiks stated, showing a clip from The Pop Out’s finale. “And we don’t think they will ever get a feature with Kendrick. He has one concert in 15 years and brought these ns on stage and n****s is saying he did the most.” He contrasted this with J. Cole’s Dreamville Festival and Drake’s OVO Fest, both of which platform emerging artists and have become significant cultural events in their respective cities.

Akademiks’ comments quickly drew backlash from fans. One user replied, “OVO Fest is not the same as the POP Out. The POP Out was West Coast honoring their identity, their fallen soldiers, and respecting each other’s differences and similarities of being the West Coast culture. It was also retaliation to a colonizer insulting their legends.” Another added, “Y’all Drake n****s don’t know how to take an L and move on.”

This isn’t the first time Lamar’s The Pop Out – Ken & Friends has been compared to Drake’s OVO Fest. When Complex shared a clip of Drake performing his Meek Mill diss track, “Back to Back,” at OVO Fest in 2015, social media users debated the moment’s lasting impact in light of recent events.

Stay tuned to Honk Magazine for more updates on DJ Akademiks, Drake, and Kendrick Lamar.

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Artist Spotlight

Lisa Boostani creates a mesmerizing tidal realm in “Ocean”

Lisa Boostani

Lisa Boostani’s “Ocean” takes you deep into a sensory world where body, spirit, and myth come together, beyond the surface of genre. Boostani makes a soundscape that is both ethereal and deeply human by combining the broad essence of psychedelic pop with the strong appeal of alternative rock.

Her voice rises as if it is coming from deep within her, shaped by emotion rather than action. She intentionally channels the intangible, turning weakness into strength rather than a source of pain, and “Ocean” tells people to get involved in this inner world, not just watch it. This release is an integral part of her first EP, “One,” which will come out in March 2026 and is based on love, sensuality, and unity.

If “Ocean” is any indication, the EP will show sensuality not as something pretty, but as a kind of spiritual intelligence, a way to know yourself by connecting with others. The song’s textures and structure have an aquatic quality, moving between clarity and delirium, rhythm and freedom. Its emotional focus is on immersion instead of resolution.

The striking quality of “Ocean” is the blend of the mystical worlds. Boostani understands that strength often shows up as gentleness and that deep feelings are better expressed through frequencies than words. She wants people to see consciousness as immediacy, sensation as truth, and openness as an undeniable strength.

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Artist Spotlight

NOAH. captures the unspoken signals in enchanting R&B track “That’s Bless”

NOAH.

“That’s Bless” captures the unspoken late-night message, the smile that was exchanged from afar, and the feeling you sense but are afraid to say. NOAH. offers a song with a smoky R&B feel and lyrics that capture unspoken tension, firmly in the realm of emotional ambiguity, where connection is clear but not defined.

This piece concerns the subtle discomfort of mixed signals and quiet longings, when looks say more than words ever could. NOAH. handles the theme with restraint, letting the chemistry simmer rather than explode. NOAH.’s delivery shows a confident gentleness, recognizing that some feelings don’t need strict definitions to be real.

In “That’s Bless,” he captures the essence of connection and the compelling allure that endures, even when both parties pretend it is not there. The composition is based on real-life events, and it acknowledges that specific attachments endure in the heart long after one has persuaded oneself of having progressed.

“That’s Bless” is at the crossroads of closeness and distance, clarity and confusion. The song doesn’t resolve the tension it talks about, and that’s what makes it so powerful. It sums up the connection we say we don’t want but keep coming back to in memory, rhythm, and pulse.

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