REVIEW: Tyler, the Creator - Don't Tap the Glass

Leave your baggage, move your body.

28:30 // July 21, 2025 // Columbia

One thing I’ve always enjoyed about Tyler, the Creator is his ability to weave narrative with music. Throughout his career, nearly all of his albums have either had a central theme or concept as the primary focus with the music driving the emotions of it, whether an explicit conceptual story like Wolf or an overarching theme of growth throughout life in Chromakopia. However, just nine months after the release of Chromakopia, his newest effort Don’t Tap the Glass feels looser and freer in the thematic department – and it’s exactly what it needs.

With opener “Big Poe,” Tyler lays out three rules: no sitting still, leave your baggage at home, and don’t tap the glass. It’s as simple as that, you’re here to have fun and dance to the song. Forget about what people will think of you or how they react to your movement, let yourself loose and enjoy the music. At just 28 minutes and 10 songs, Don’t Tap the Glass is packed with groovy jams full of vibrant synths and funky rhythms ready for a dance party. Yet, even in such a short amount of time, Tyler showcases his versatility both with his vocal works and production style.

The entire album can be viewed as a musical spectrum, with one end being rap-focused and the other being melody-driven. Right out of the gates, Tyler jumps into a N.E.R.D.-influenced groove with a catchy flow complemented by Sk8brd’s rapping (how about that, Pharell Williams on a song that harkens back to the In Search of… era of N.E.R.D.) Midway through the record, “Mommanem” and “Stop Playing With Me” dig deeper into Tyler’s more abrasive style, especially with the former’s melody sounding like something out of his early horrorcore works. Further along the spectrum, we reach songs that combine both the melodies and rap together in a captivating manner. “Sucka Free” and “Ring Ring Ring” draw inspiration from G-funk with lush synths that complement the melodic hooks and smooth lyrical flow of the verses. Even “Sugar On My Tongue” blends that rhythmic flow and melodic singing in a way that encapsulates the dance-y theme of the record, keeping the groove driving throughout. Now at the other end of the spectrum, the album’s final three songs, Tyler isn’t even the primary vocalist, yet his songwriting and composition shine through with a melodic touch similar to what you would find on the softer sides of Igor and Chromakopia. With featured performances from Madison McFerrin and Yebba, their richly melodic vocals bring the rapping portions of Don’t Tap the Glass to an end – yet the dance party is very much alive. These moments maintain the album's airy sensibilities, allowing for a combination of beautiful and catchy beats. And finally, “Tell Me What It Is” ends in the perfect way, guided by Tyler’s falsetto vocals accentuated by a progressively building synth composition that brings Don’t Tap the Glass to a close.

Even beyond the musical composition, the record as a whole has a rather carefree attitude behind it. Many of the tracks are anchored by a repetitive hook, often restating the title of the track as is the case with “Stop Playing With Me” and “Big Poe.” Though the lyrics seem to lack depth in these cases, they harken back to the entire point of the album, which is just to let loose. These repetitive hooks and refrains become less of lyrical endeavors and more like instrumental tools, acting as another percussive element rather than a narrative driver. With lyrical phrases like “Like sugar on my tongue, tongue, tongue / Your body is so sweet, sweet, sweet” and “I like darkskin b–ches like my mama / I like lightskin b–ches like my daddy / You ain't like that line? Not my problem,” it signifies Tyler expressing freely, whether it’s about his exciting desires or speaking his mind without worrying about controversy. Most importantly, since there is no character progression or conceptual piece to the record, each song uses lyrics either for a humorous touch or a slick flow that adds an infectious touch. While it is tempting to dive deep into the analysis of a story in music, Don’t Tap the Glass proves that it’s equally enjoyable to sit back and let the music and lyrics work together for a free and relaxing experience that floats along without being bogged down by lyrical density.

With its short run time and easy-going progression, the record is easily one of his most replayable and entertaining jams. Without a particular conceptual theme other than to just be free and move your body, the album benefits from its simpler composition that prioritizes bumping rhythms and light-hearted lyricism. This is simply Tyler having fun, encouraging listeners to join him, let go of embarrassment and enjoy the music. It’s goofy, it’s engaging, it’s entertaining. Though it may not reach the same lyrical peaks of Flower Boy or match the compositional depth and experimentation of Igor, the record slots itself nicely in Tyler’s discography as the laid back and casual listen. So sit back, throw on the album, let the grooves take you over, and enjoy it. And remember, Don’t Tap the Glass.

8.5/10