Young Thug Says Sorry On Wax: Drake, 21 Savage, Lil Baby and Mariah the Scientist Get a Verse-Long Apology

Zoe Bennett here, your go‑to for sharp, evidence‑driven celebrity sagas with a side of street‑level insight. A new Young Thug track surfaces that doubles as a public contrition letter to a circle of heavyweights and a girlfriend, all rolled into a single music moment. The song, titled Man I Miss My Dogs, drops just after a series of leaked jail calls that captured Thugger allegedly venting about rumors and relationships while incarcerated. The track frames a mea culpa aimed at Drake, 21 Savage, Lil Baby, and most personally, his girlfriend Mariah the Scientist, with a broader nod to the people he’s felt he let down during a difficult chapter.

The headline takeaway is clear: Thug is using his art to address claims and conversations that previously circulated in leaked jail calls, offering direct lines of reconciliation in a format that fans and observers can parse in real time. The song opens with a message directed at Mariah the Scientist, risking claims about infidelity and trust by reframing them as fears of losing her to public scrutiny. On the topic of his relationship, the lyrics suggest a fear of the internet rewriting personal history and amplifying private tensions. For Mariah, the emotional baseline is unmistakable: the rapper acknowledges his own vulnerability, a pivot in his public posture that contrasts with earlier public feuds or dismissals.

When the track pivots to rap peers, the bars function as a public‑facing reconciliation. The line to Drake, “Drizzy, you my brother / You know I ain’t going against you,” reads like a formal post‑incident truce, complete with recognition of Drake’s influence on the rap community and a pledge not to diss him. This is not a mere nod; it’s a deliberate reaffirmation of alliances and mutual respect, especially after the scrutiny surrounding their intertwined careers. The public record shows Drake visiting Thug at Cobb County jail, a moment the lyrics reference as part of the gang’s ongoing, albeit complicated, brotherhood. The public reception to such a statement is layered: fans point to the chill tone as proof of realignment, while critics note the cautious framing of apologies within an artist’s strategic comeback.

The 21 Savage segment functions similarly to the Drake moment, with Thugger acknowledging Savage’s realness and urging others not to rewrite their relationship as anything but mutual loyalty. The song’s public performance element—an accompanying music video released alongside the track—amplifies the message, presenting a tangible artifact of the apology rather than a rumor or an offhand comment in a feed. This is consistent with Thug’s broader pattern of leveraging visuals to reinforce narrative arcs, which fans and cultural observers have tracked across his releases.

In context, Thug’s move sits at an intersection of legal proceedings, fan‑driven narratives, and the careful public diplomacy artists often deploy after time in the spotlight’s harshest glare. The track also contains a previously publicized note in which Thug apologized to GloRilla for a previously referenced insult in a jail call, signaling a broader strategy of addressing publicized missteps and attempting to reset relationships.

What remains to be seen is how durable this moment proves once the music world digests the full implications of the lyrics and the video. Will fans view this as a genuine pivot or a carefully calibrated PR moment designed to soften legal and reputational headwinds? The answer may hinge on subsequent interviews, performances, and any new information from ongoing legal proceedings. As with any high‑profile artist navigating controversy, the real test will be whether these relationships endure beyond the immediate moment and whether the public’s appetite for transparency continues to grow.

What to watch next: how this apology arc influences Thugger’s next releases, whether peers publicly acknowledge the shift, and how Mariah the Scientist responds in her own social or artistic statements. The music business loves a narrative arc, and this one is still in the early chapters.

Sources: Celebrity Storm and TMZ
The original TMZ coverage of Young Thug and related remarks
Attribution: Brooklyn Academy of Music New York October 2016 001 — King of Hearts (CC BY-SA 4.0) (OV)