Doja Cat is an eclectic figure. Her stake in the musical landscape is as diverse as it is fascinating. Her discography ranges anywhere from the slow spacey R&B vibe of her breakout hit “No Police” from 2014 to the totally absurd and unbelievably fun track “Mooo!” that dropped in the summer of last year that had everyone proud to say that they were a cow. Doja Cat is an artist who does not take herself too seriously. This adherence to her individualism and her persistent “Fuck you” attitude to the concept of being in any sort of box has reaffirmed itself yet again with her newest single “Tia Tamera” with a feature from one of rap’s baddest bitches: Rico Nasty.

Tia Tamera (feat. Rico Nasty), a song by Doja Cat, Rico Nasty on Spotify

A reference to the famed twins Tia and Tamera Mowry who starred in the 90s sitcom Sister, Sister, this Doja Cat and Rico Nasty collaboration has as much quirk and silliness as the song’s namesake. The duo rap over an obnoxious beat with a two note droning base melody that changes only in its pitch. This melody is the thread that guides the song instrumentally. It never changes, but is instead dropped out with the rest of the beat during specific alterations in both Doja Cat’s and Rico Nasty’s flows during their respective verses.

The structure of the track lyrically is heavily dependent on a build up-punchline style of delivery. Most of the lines set up a concept that is then given relief at the end of the lyric, such as “Cheese like pizzeria, have a seat bitch, please, Ikea/From the Westside like Maria, I'm hot like grits, Madea” in Doja's verse to “Ride-ridin' in a foreign, no Prius/He keep callin' my phone, Nokia” in Rico’s.

The flow from both Doja Cat and Rico Nasty follows a consistent vocal pattern, with both of their verses beginning with the motif of getting some sort of compliment and replying with “Thank you very much.” From there, each of them takes the verse in their own direction, with Doja Cat flexing her sex appeal and Rico Nasty bragging about her money and her readiness to step to anyone who tries her. Both women use their verses to talk about themselves in the most exaggerated way possible, the lyrics obviously corny and the delivery undeniably bratty.

But that is why I love this track. “Tia Tamera” is weird, silly, and utterly over the top. At first, I was not sold on the song. Something about Doja Cat’s repetitive flow, the cartoony video game esque beat, and the admittedly awkward lines that don’t always land did not attract me upon first listen. This is the type of track you have to let grow on you and in doing so allowing the song to be just what it is trying to be: pure fun. The track is not meant to be groundbreaking, it’s meant to get your energy up. It’s meant to make you feel both sexy and capable of getting into a fist fight. It’s meant to make you spend three minutes and thirty three seconds of your time to enjoy something simply because it is enjoyable. And that is what makes it so great.

“Tia Tamera” sees Doja Cat continuing to explore what she wants to do with music, which at this point seems to be anything she wants. She continues to interest and engage her audience while attracting new listeners to what she has to offer musically and aesthetically. With the cosign of Rico Nasty, one of the prominent newcomers in the rap game today, there is no way to know what is in store for Doja Cat’s future or what she will do next. If she continues to put out tracks on her own accord, full of authenticity and personality to match, then there is a good chance you’ll be seeing her name again soon.

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