DaBaby sets the record straight regarding JoJo Siwa lyric

DaBaby has denied that he was taking a shot at dancer and Youtube personality JoJo Siwa on a recent track.

On Friday (February 19), the North Carolina rapper released a new freestyle called ‘Beatbox’, featuring the lyrics: “Turn me up, n****s gon’ see why/ N***a, you a bitch, JoJo Siwa (Bitch).

Following the track’s release, fans took to social media to discuss the lyrics, with many believing he was comparing his opposition to 17-year-old Siwa.

DaBaby has now clarified that the lyric was not a diss, stating that his daughter is a big fan of the dancer and has all the products she’s released.

“@itsjojosiwa my 3 year old princess is your number 1 fan. I bought her every product you have out,” he tweeted. “She think she you. Don’t let em trick you into thinking id ever have a problem with you. My word play just went over their heads. All love on my end shawty, Keep shinning!”

According to the Genius lyric page for ‘Beatbox’, DaBaby was likely using the word “Siwa” as a replacement for “see why”, and used JoJo as a likely reference to his real first name Jonathan, meaning the full line could be: “Jonathan see why”.

Earlier this month, Megan Thee Stallion released the video for her track ‘Crybaby’, the latest collaboration she has with DaBaby.

‘Crybaby’ featured on Megan’s debut album ‘Good News’, and marks the third song from the album to receive a music video, following ‘Body‘ and ‘Don’t Stop‘ alongside Young Thug.

Meanwhile, DaBaby was one of several celebrity cardboard cut-outs dotted around Florida’s Raymond James Stadium during this year’s Super Bowl.

30,000 seats were filled with fans’ pictures as well as the famous faces. Fans paid $100 (around £72) to send a picture of themselves to “be in attendance” at the Tampa Bay Buccaneers vs Kansas City Chiefs game on February 7.



New Musical Express is a British music journalism website and former magazine that has been published since 1952. It was the first British paper to include a singles chart, in the edition of 14 November 1952. In the 1970s, it became the best-selling British music newspaper.

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