Kanye West once said, “I refuse to accept other people’s ideas of happiness for me.” It is the line that lives a second life in rap, not just as a quote but as a code, and Booz’s new record “I Do What I Want” with Lil Polo Da Don moves with that same stubborn sense of self. Over three tight, unrelenting minutes, he draws a line between surviving, shining and staying loyal to the block that raised him, turning defiance into something closer to daily routine than a big speech. The record is an update from someone who has already done the groundwork with tracks “What About Booz?” and “FEDS,” and now wants the freedom to move exactly how he chooses, without asking for anyone’s permission.
The tag from Umbrella Group Music and that “Sak Pase” drop place Booz firmly in his current camp, but the tone is all Sanford, Florida, all trenches, all firsthand. The hook is simple and chant-ready, built around the mantra “I do what I want,” but what sells it is the way Booz leans into the phrasing. His voice is slightly grainy, urgent, sitting right on top of the beat. The repetition is pressure, like he is pushing that idea into the listener’s head the same way he has clearly had to push it into his own life.
Mahlatse Morloutsi’s production gives him the right canvas to do it. The beat’s in that modern Southern lane. A menacing melodic loop riding on top of tight, punchy 808s, hi-hats ticking with a steady shuffle that lets the verses breathe. The low end is heavy, and there is just enough atmospheric padding around the main melody to make the track feel bigger than a simple street freestyle. The tempo hits that sweet mid-range where you can either ride with it in the car or let it ring off in the club. Ryan Taylor’s mix keeps Booz front and center, with the ad-libs tucked to the sides, so every line lands clearly even when the pockets get dense.
Here, Booz is not interested in metaphor games. He is documenting a way of moving that blends grind, paranoia and pride. When he talks about pushing up in an AMG with a Backwood full of za and a big .40 in his pants, it’s a field report, grounding the hook’s bravado in the reality of Florida street life. The mob imagery, the vans, the “night krawlerz” swinging out the windows with sticks, all show a picture of someone who has seen enough to know control is fragile and has to be protected. His references to homies doing “elbows” in prison, three-way calls, and not seeing his dog since he was sentenced give the verse a weight, telling you there are real names attached to the lifestyle he is rapping about.
Booz admits he told his girl he loves the streets and can’t lie about being a thug, but pairs it with the constant chase for money and the prayer to meet a plug. It is the balance of wanting more and being tethered to the block, of trying to flip the same environment that put his people behind bars into the engine that feeds them. For listeners who have followed his rise from early tracks like “Little Momma” to more recent singles under Umbrella Group Music, that tension is a natural evolution. The kid who fell in love with music at 13 is now using it to process the cost of staying connected to where he came from.
Lil Polo Da Don slides in on the second verse with a different energy. His delivery is slicker, a little more playful, but he is talking the same language. He walks into the projects with sixty thousand in jewelry, feeling like Lil Baby, and makes it clear he is not the one to test. His lines about not playing with 380s, hanging out the top of the car, and having women he does not even follow trying to get to him give the verse a chaotic motion, like he is constantly in transit, dodging both enemies and expectations. Where Booz leans into loyalty and responsibility, Lil Polo leans into motion and appetite, but both circle back to the same idea, that they answer to themselves before they answer to anyone else.
The video, shot and edited by STBR Films with direction from Dangelo Cantrell, reinforces that dynamic by keeping Booz and Lil Polo Da Don rooted in environments that match the music. There are no out-of-place cinematic detours, just carefully framed shots, never straying too far from the projects and streets that the lyrics reference. Watch here.
All of this lands in a specific chapter of Booz’s story. Coming off the back of “What About Booz?,” “FEDS” and “Decent,” “I Do What I Want” is a statement of intent for this next run, especially with Umbrella Group Music’s backing and the visible push on platforms and press. His name has already been buzzing in blogs and hip hop outlets, and collaborations with artists like Lil Polo Da Don are a clear sign he is not content to stay local. Yet, the music here stays grounded. There is no sense of him abandoning the sound or the people that set the foundation. Instead, he is trying to translate that foundation into something that can travel further without losing its shape.
For listeners just discovering Booz, this track works as a sharp entry point. For those who have been watching the rise from Sanford to the wider spotlight, it’s a confirmation that the story is still unfolding. “I Do What I Want” is about reclaiming agency, about a man who has seen how quickly control can be snatched, deciding he will no longer let anyone else script his path. If this is the tone he is setting for what comes next, then it is worth paying attention, because artists who talk like this and live like this rarely stay in the background for long.
Check out BOOZ online for more:
https://umbrellagroupmusic.com/booz
