Dillon & Batsauce Did Something!

2016 gave us some incredible albums. A Tribe Called Quest, De La Soul, Common, The Game, Czarface, Skyzoo & Apollo Brown, Ka, and many others dropped solid projects that year. But one album might just surpass them all: Food Chain by Dillon and Paten Locke. Though it was a little overshadowed by some bigger, more legendary names.

Fast forward.

July 12, 2024, also gave us some great music. Perhaps some of the releases from that day were overlooked because of the resonating—or perhaps blinding—light of The Auditorium Vol. 1 by Common and Pete Rock. That was a huge moment in music: two legends coming together to deliver a stellar album. But if you squint your eyes or step past that bright light, you might catch sight of another incredible release. No, not Los Angeles by Blu and Evidence. I’m not talking about Bushman Bodega by Daniel Son & Futurewave. It’s not Jay Worthy’s funky joint with DāM-Funk, and it’s not Thought Provokah’s album (though that was dope too). I’m talking about Dillon and Batsauce—two of the baddest, most talented collaborators around. These guys know how to craft exceptional music, with Dillon’s impeccable flow and witty content paired with Batsauce’s incredible beats. Their new album, What Have We Done, is aptly titled. So let’s answer that question.

For starters, this album continues the high standards set by Dillon’s label, Full Plate. Founded in 2013 by Dillon and the late, great Paten Locke (RIP), Full Plate became a hub for dope art and community, connecting people in Jacksonville, FL, and Atlanta, GA. Remember that intro to Black on Both Sides where Yasiin Bey (then Mos Def) said Hip-Hop goes where the people go? Hip-Hop with Dillon and Locke was in a great place as they created beautiful art together. Sadly, Locke passed away in 2019. Since then, Dillon and Locke’s daughter, Asha Lock, have carried the torch. This album by Dillon and Batsauce continues Full Plate’s tradition of excellence.

As usual, Dillon brings humor, but don’t mistake him for a gimmick. He’s far from a one-trick pony. On “Make History,” he cracks a joke about knowing potato salad doesn’t include raisins—a funny line for a Hip-Hop song—but just a few bars earlier, he drops this gem: “Success is an investment. That’s why it pays to fail.” He mixes humor with vulnerability on “Goin’ Viral,” exploring the anxieties of not achieving the success he deserves. Dillon’s ability to balance honesty and humor is a hallmark of his style. He can also flat-out rhyme. On “Wakin’ Up Hungry,” his wordplay is impeccable, flowing with precision and delivering a cadence so fun and intoxicating you can’t help but replay it.

Beyond his skills as an emcee, Dillon is also a chef. Sometimes he even brings the kitchen onstage, preparing sandwiches for the audience while rapping. But again, this isn’t a gimmick—Dillon is authentic. He entertains by blending thoughtful reflections with great humor, writing infectious lines and hooks that pull the listener in. On “Cannonball,” featuring Grand Puba, he crafts a hook so catchy that by the second listen, you’re compelled to join in:

One time in the place to be for all the party people having a baaaall Two times for the folks in the front and the ones back playing the wall Three times if you at home listenin’ cleaning up your living room Or cooking in your kitchen in case you need heat, you know who to call
By the second time you hear this hook, you’re compelled to join in. Dillon did that.

What about Batsauce? Yooooo. I could tell you—but honestly, you need to hear it for yourself. His production on this album is something else. It’s upbeat, fun, funky, and carries a modern Native Tongues vibe. It’s exactly the kind of Hip-Hop I love: sample-based with thick, breakbeat-style drums. You know that sound you make when something tastes amazing? When you kiss your fingers and spread them into the air? Yeah, that sound. I don’t know how to spell it, but that’s what comes to mind. These beats are delicious. Let me point out a few personal highlights.

The way the album begins is just right. Batsauce sets it off with production that feels light, easy to digest, and the perfect way to pull you in. Then comes a banger for the first guest of the album, Grand Puba. Well-placed and well-timed. Speaking of bangers, "Ready on the Left" features Kool Keith alongside a killer bassline that rides perfectly with the drums.

And one of the best beats—if not the best—is the closer, “Yoga Flame.” It stands out because the kick drum doesn’t really kick in a booming, boom-bap way. Instead, it’s steady and light, blending seamlessly with other drum elements and a jazzy guitar. It’s so fresh, you can’t help but nod your head.

Yeah, Batsauce did that.

So, this album is really good. Dillon brings it lyrically, Batsauce crushes it on
production—they did all of that. But did they surpass Food Chain? That album, to me, is one of the best of the 2010s. Nearly flawless for many of the same reasons this new project shines. If you’ve never heard Food Chain, I highly recommend giving it a spin. Maybe then you can weigh in on the comparison. Maybe you’ll disagree.

As much as I love What Have We Done, I still have to give the edge to Food Chain. It remains the best Full Plate release. It’s just that dope. But make no mistake—Dillon and Batsauce gave one of the best albums of the past ten years a serious run for its money. And that’s no small feat. They did that.

Listen to the album for yourself. Click here to check it out!