Deep Dive into Kendrick Lamar’s Wacced Out Murals: Lyrics Meaning and Cultural Impact

Kendrick Lamar’s Wacced Out Murals, released on November 22, 2024, as the opening track of his surprise album GNX, delivers a powerful exploration of betrayal, resilience, and legacy.

Produced by frequent collaborator Sounwave, the track layers sharp social critique with personal reflections, capturing Kendrick’s unyielding commitment to authenticity.

This analysis delves into its lyrical depth, cultural relevance, and the nuances that make it a standout anthem.

The Symbolism and Meaning Behind “Wacced Out Murals”

“Wacced Out Murals” evokes imagery of vandalism, representing a challenge to legacy and identity.

For Kendrick, murals symbolise artistry and history—destroying them becomes a metaphor for erasure.

The title draws from real events: Kendrick’s mural in Compton was defaced after his Not Like Us video release.

This act reflects the fragile balance between public adoration and criticism faced by influential figures.

By turning this event into a narrative of resilience, Kendrick reclaims the narrative, framing destruction as an opportunity for renewal.

Exploring Themes and Lyrical Depth in Wacced Out Murals

The Spanish Connection

“Siento aquí tu presencia / La noche de anoche / Y nos ponemos a llorar” Deyra Barrera’s haunting Spanish vocals open the track, setting a tone of melancholy and reflection.

These lines, translating to “I feel your presence here / Last night / And we start to cry,” create an ethereal backdrop for Kendrick’s raw confrontation with his reality.

Kendrick’s lyrics in Wacced Out Murals blend vulnerability with strength, addressing universal themes while also commenting on specific controversies.

Betrayal and Self-Determination

Lines such as, “Yesterday, somebody whacked out my mural / That energy’ll make you move to Europe, but it’s regular for me,” capture the duality of fame: adulation coupled with animosity.

Rather than succumb to external hostility, Kendrick defiantly asserts, “I’ll kill ’em all before I let ’em kill my joy,” underscoring his resilience.

Super Bowl Fallout and Industry Critique

One of the most striking aspects of the song is Kendrick’s response to the fallout from his 2025 Super Bowl halftime show performance.

Lines like, “Used to bump Tha Carter III, I held my Rollie chain proud / Irony, I think my hard work let Lil Wayne down,” highlight the tension between admiration and competition.

Lil Wayne’s public disappointment in not being chosen to perform in his hometown of New Orleans adds a layer of poignancy to Kendrick’s reflection.

Kendrick further critiques the superficiality of industry relationships, as captured in the lyric, “Won the Super Bowl and Nas the only one congratulate me.”

This sentiment underscores the transactional nature of the music business, where authentic gestures of support are rare.

Admiration, Rivalry, and Loyalty

Kendrick reflects on the complexities of his relationships within hip-hop.

His line, “I’ll take ’em to Hell with me before I take a truce,” reveals an unflinching resolve in the face of perceived betrayal.

Kendrick’s frustration extends to Snoop Dogg’s endorsement of Drake’s AI-generated diss track “Taylor Made,” further illustrating the tension within his professional circles.

Raw Honesty in Lyrical Delivery

Kendrick’s declaration, “Fuck a double entendre, I want y’all to feel this shit,” emphasises his commitment to emotional authenticity.

He foregoes complex wordplay to ensure the raw power of his message resonates with listeners.

The Cultural Responsibility

“Don’t let no white comedian talk about no Black woman, that’s law” stands as one of the track’s most quotable moments.

It’s Kendrick drawing a line in the sand about cultural respect and protection, expanding the song’s scope beyond personal beef into cultural commentary.

Production Choices That Reinforce the Message

The production of Wacced Out Murals enhances its thematic intensity.

Sounwave’s sparse beats, gospel-inspired vocals, and Spanish guitars create a tension-filled soundscape.

These minimalistic yet evocative elements amplify Kendrick’s storytelling, ensuring the listener focuses on the song’s raw message.

Cultural and Industry Context of Wacced Out Murals

The defacement of Kendrick’s mural in Compton serves as a literal and symbolic moment in the track.

It highlights the precariousness of legacy in a culture often torn between celebration and critique.

Beyond personal grievances, Kendrick’s frustrations with betrayals, such as Snoop Dogg’s tacit endorsement of rivalries, reveal the complexity of loyalty in professional circles.

Moreover, the tension surrounding the 2025 Super Bowl halftime show epitomizes the challenges faced by artists navigating fame and legacy.

While Kendrick’s selection marked a career milestone, it inadvertently caused friction with Lil Wayne, whose personal investment in the event added emotional weight to the fallout.

Kendrick’s broader commentary addresses the transactional nature of fame, with lines like “I watch ’em pander with them back-handed compliments / Put their head on a Cuban link as a monument.”

These words underscore the disingenuous gestures that often dominate the industry, contrasting sharply with Kendrick’s commitment to authenticity.

Conclusion: Kendrick Lamar’s Legacy Through Wacced Out Murals

The track ends with a powerful image: “Old soul, bitch, I probably built them pyramids.”

It’s Kendrick claiming his place not just in current hip-hop, but in a longer lineage of Black excellence and achievement.

The defaced mural becomes less about physical vandalism and more about attempts to erase cultural legacy – attempts that, according to Kendrick, are doomed to fail.

Through poignant lyrics, exceptional production, and fearless authenticity, Kendrick reasserts his position as a transformative figure in hip-hop.

More than just an album opener, this track serves as a thesis statement for Kendrick’s ongoing evolution—a declaration of resilience, renewal, and an enduring commitment to truth.

Kendrick Lamar wacced out murals Lyrics

Intro: Deyra Barrera
Siento aquí tu presencia
La noche de anoche
Y nos ponemos a llorar

Verse 1
Yesterday, somebody whacked out my mural
That energy’ll make you niggas move to Europe
But it’s regular for me, yeah, that’s for sure
The love and hate is definite without a cure
All this talk is bitch-made, that’s on my Lord
I’ll kill ’em all before I let ’em kill my joy
I done been through it all, what you endure?
It used to be fuck that nigga, but now it’s plural
Fuck everybody, that’s on my body
My blick first, then God got me
I watch ’em pandеr with them back-handed compliments
Put thеy head on a Cuban link as a monument
I paid homage and I always mind my business
I made the—
I never lost who I am for a rap image
It’s motivation if you wonder how I did it

Chorus
Yeah, nigga, go and up your rank
Know you a god even when they say you ain’t
Yeah, nigga, keep your feelings out the way
Never let no one put smut up on your name
Yeah, nigga, keep your head down and work like I do
But understand everybody ain’t gon’ like you
Yeah, nigga, if they say it’s love, you’ve been lied to
A couple rules of engagements, I’ma guide you

Post-Chorus: Deyra Barrera
Que refleja en tu mirada
La noche, tú y yo

Verse 2
Ridin’ in my GNX with Anita Baker in the tape deck, it’s gon’ be a sweet love
Fuck apologies, I wanna see y’all geeked up
Don’t acknowledge me, then maybe we can say it’s fair
Take it to the internet and I’ma take it there
Miss my uncle Lil’ Mane, he said that he would kill me if I didn’t make it
Now I’m possessed by a spirit and they can’t take it
Used to bump Tha Carter III, I held my Rollie chain proud
Irony, I think my hard work let Lil Wayne down
Whatever, though, call me crazy, everybody questionable
Turn me to an eskimo, I drew the line and decimals
Snoop posted “Taylor Made,” I prayed it was the edibles
I couldn’t believe it, it was only right for me to let it go
Won the Super Bowl and Nas the only one congratulate me
All these niggas agitated, I’m just glad they showin’ they faces
Quite frankly, plenty artists, but they outdated
Old-ass flows, tryna convince me that you they favorite
This is not for lyricists, I swear it’s not the sentiments
Fuck a double entendre, I want y’all to feel this shit
Old soul, bitch, I probably built them pyramids
Ducking strays when I rap battled in the Nickersons
Where you from? Not where I’m from, we all indigenous
Against all odds, I squabbled up for them dividends
Against all odds, I showed up as a gentleman
I done lost plenty friends, sixteen to be specific
Put that on my kids’ children, we gon’ see the future first
They like, “Dot big trippin,” I just want what I deserve
What bridge they done burnt? All of them, it’s over with
I’m doin’ what COVID did, they’ll never get over it

Verse 3
Niggas from my city couldn’t entertain old boy
Promisin’ bank transactions and even bitcoin
I never peaced it up, that shit don’t sit well with me
Before I take a truce, I’ll take ’em to Hell with me
If that money got in the hands of a crash dummy
Could jeopardize my family and burden the ones who love me
Niggas mad ’cause I decided not to pretend
Y’all stay politically correct, I’ma do what I did
Ain’t no sympathy here, this shit’s hilarious
It’s a lot of opinions, but no power to carry it
2025, they still movin’ on some scary shit
Tell ’em quit they job and pay the real niggas they severance
Don’t insult my intelligence, I’m not just for the television
Teleport to Bullets Road and dig up all my relatives
Okay, nigga, let’s settle it, these niggas been fake loyal
Since y’all pandering to choose a side, let me do it for you
Okay, fuck your hip-hop, I watched the party just die
Niggas cackling about— while all of y’all is on trial
Niggas thought that I was antisocial when I stayed inside of my house
You better off to have one woman, everything tricky right now
You niggas live in denial
Ayy, fuck anybody empathetic to the other side, I vow
A bitch nigga love bitch niggas, they exist with ’em in style
Exterminate ’em right now
Make Katt Williams and them proud, the truth ’bout to get loud
No juice inside of my cup, I sober up and knock ’em all off
Don’t let no white comedian talk about no Black woman, that’s law
I know propaganda work for them, and fuck whoever that’s close to them
The niggas that coon, the niggas that bein’ groomed, slide on both of them
You ever ate Cap’n Crunch and proceeded to pour water in it?
Pulled over by the law, you ridin’ dirty, so you can’t argue with ’em?
Then make it to be a star, bare your soul and put your heart up in it?
Well, I did
Whacked the murals out, but it ain’t no legends if my legend ends