YEAT DOES NOT WASTE THE MOMENT

COCOON arrives with the confidence of an artist who knows exactly how quickly the internet moves. Released September 18, the seven-track EP runs just under 17 minutes and lands while Yeat is still on the road for his LOVE/LYFE Tour. There is no long runway and no attempt to turn the release into a grand statement. It is compact, immediate and built to hit before the conversation changes.

That scale matters. Yeat initially framed the project as a small pack made while touring, then expanded the final release to seven songs. The result feels less like a follow-up album to ADL and more like a sharp transmission from the middle of an active year.

DRAKE MAKES “MISS MY DAWG” THE CENTERPIECE

The obvious headline is “MISS MY DAWG,” the EP’s only collaboration and its longest track. Drake’s appearance gives COCOON a major focal point, but it also extends a partnership that already produced “IDGAF” and “As We Speak.” Their chemistry works because neither artist has to flatten his style for the other.

Placed third, “MISS MY DAWG” acts like the hinge of the record. Yeat brings the clipped delivery and warped atmosphere; Drake supplies a familiar voice without turning the song into a detour. It is a high-profile reunion, but the track still belongs inside Yeat’s world.

The biggest name on COCOON does not overwhelm the project. Drake gives Yeat a recognizable doorway into a release that still feels unmistakably his.

THE TRACKLIST MOVES LIKE A LIVE SET

COCOON opens with “EARNËD IT” and barely lets the pressure drop from there. “IN2THAT” leads into the Drake-assisted centerpiece before “LUH BIRK,” “HOLY WATËR,” the title track and “TËNNIS” close the sequence. With no second guest and no song stretching beyond four minutes, the project is designed around momentum.

That makes the sequencing more important than the runtime suggests. Every track arrives, establishes its texture and gets out. The short form suits Yeat’s music, where a vocal inflection, a distorted low end or one strange production detail can carry as much weight as a traditional hook.

COCOON’S BEST IDEA IS ITS SCALE

Seven tracks can feel slight when they are assembled like leftovers. COCOON avoids that problem by presenting its brevity as the concept. The title suggests transformation and enclosure, while the monochrome visual reset around the release strips Yeat’s presentation down to something colder and more controlled.

The EP also arrives less than six months after the double album ADL, which means it does not need to explain a new era from the ground up. It can simply show where Yeat’s instincts are pointing now: tighter structures, fewer distractions and songs made to travel quickly from the studio to the stage.

WHAT COCOON ADDS TO YEAT’S 2026 RUN

COCOON is not trying to replace ADL or behave like another full-scale album campaign. It works as a pressure release between bigger chapters. The Drake feature gives it an instant headline, but the lasting impression is how little excess Yeat needs to make his world feel complete.

In 16 minutes, he delivers a compact project, a major reunion and a clear visual mood. That is enough to make COCOON feel intentional rather than temporary—and to keep the next move impossible to predict.