Drake has released Fear of Missing Out, an hourlong livestreamed visual project that turns a run of recent songs, unreleased material and guest appearances into what he had framed as a “not so short film.” The project, also referred to as FOMO, was initially presented on YouTube before the stream was made private.

The film arrives after a period in which the scope of Fear of Missing Out had been unclear. Fans had considered the possibility of an album, a video or a tour. Drake ultimately positioned it as a self-funded surrealist piece, describing it as a story about making the most of one summer. In practical terms, the completed project is not simply one conventional music video: it is a continuous, hourlong sequence built from separate song visuals, comic sketches, cameo moments and new recordings.

That format matters. A music video ordinarily supplies a single visual identity for one track. A visual project such as FOMO instead connects several videos and scenes in one presentation, giving songs from different releases a shared frame. It also allows Drake to introduce new material without confirming that the songs constitute another album or a separately scheduled release.

New music sits alongside recent album cuts

Fear of Missing Out includes videos for songs from Drake’s recent albums Maid of Honour and Habibti, including “WNBA,” “Road Trips” and “Hoe Phase.” The program opens with “Cheetah Print,” featuring Sexyy Red, before moving to “Outside Tweaking,” which places Drake on a beach with Stunna Sandy.

Its deliberately varied structure also includes an infomercial-style segment about making a drink called “Panty Dropper.” Winnie Harlow appears in the “New Bestie” visual, while Drake’s mother, Sandi Graham, appears in “True Bestie” and shows an “Icemom” tattoo. Lena the Plug is also among the project’s guests.

The more consequential musical element is the presence of songs not previously released on the recent records. One is Drake’s much-speculated remix of Ella Langley’s “Choosin’ Texas,” described as a slowed, underwater-style take that brings in Don Toliver. The version uses the refrain, “Drinkin’ yak all by myself / She’s from Texas I can tell.”

Drake also reveals another new track with Don Toliver, plus a new collaboration with Yeat. The film establishes that these performances exist, but it does not settle the basic release questions around them: no separate album, single rollout or wider availability plan is confirmed here. That distinction is worth keeping clear, particularly because the original YouTube stream became private after its debut.

A collage of collaborators and settings

Five directors are credited on FOMO: Theo Skudra, Liam Macrae, Jake Schreier, Zong Li and Glenn Michael. The multi-director credit fits the project’s assembled quality. Rather than presenting one location or narrative thread, the film moves through an assortment of scenarios and visuals apparently captured over the year in Toronto, Drake’s home city, and elsewhere.

“Surrealism” can mean many things in an artistic context, but the term is useful here as a description of the film’s construction rather than a promise of a single plot. A beach sequence can lead into a mock commercial; recurring personal figures can appear beside collaborators; and an older visual reference can become the ending rather than a separate nostalgia exercise. The project appears designed to embrace those jumps instead of smoothing them into a linear story.

Its final scene is the clearest connective gesture. Drake appears within a recreation of the set associated with “Hotline Bling,” then exits when a stagehand brings out a stepladder. The gag turns a familiar pop image into literal set construction: the visual world is not treated as a permanent monument, but as a stage that can be packed up once the camera stops.

That closing beat makes the film’s title feel less like a promise that viewers must chase every drop and more like a reflection on speed, abundance and the pressure to stay present. Still, that is interpretation, not a stated plot synopsis. What Drake explicitly described was a summer-focused story about making the most of things, alongside broader encouragement to act on personal decisions and relationships.

Why the livestream format is part of the release

The choice to premiere FOMO through a livestream is consistent with Drake’s recent use of YouTube as a staging ground for larger projects. He began concretely previewing Iceman in July 2025 through Iceman Episode 1, and the eventual album announcement followed the fourth installment in that livestream series.

In this case, the post-premiere shift to private status changes how the project functions. A permanent public upload operates as an on-demand video: viewers can arrive at any point, replay individual scenes and circulate links with little urgency. A livestream that is no longer public is instead closer to an event premiere. The initial audience receives the complete sequence in real time, while later access is not established by the film’s debut.

That may also explain why individual musical reveals are drawing attention despite the project’s larger collage format. New songs with Don Toliver and Yeat, along with the Ella Langley remix, can travel as individual talking points even though they were introduced as pieces of one hourlong film. The film offers a container; the tracks give listeners distinct moments to identify.

For readers tracking Drake’s next large-scale move, this release also does not answer the touring question. A related report has indicated that Drake has said a tour is coming, with 2027 appearing to be the target; the current picture around that prospective tour remains separate from the FOMO film itself. Nothing in this visual release confirms a tour itinerary or ties the newly shown songs to one.

The context: three surprise albums and 43 songs

Fear of Missing Out follows a notably dense year of releases. Drake surprise-released three albums in May: Iceman, Maid of Honour and Habibti. Together, the three projects contain 43 songs and feature contributors including Future, 21 Savage, Sexyy Red, Central Cee and PartyNextDoor.

With that volume of material already in circulation, FOMO works less like a reset than an extension. It provides visual treatment for selected existing tracks while carving out room for additional music and guest appearances. Rather than separating an album campaign from a video campaign, it folds material from both into one presentation.

Drake had teased Iceman as early as 2024, so the path to the May releases and then to FOMO has involved a long lead-in as well as surprise releases. The film’s self-funded description is relevant in that context: it presents the project as a personal creative undertaking rather than something he described in conventional album-rollout terms.

Drake’s stated case for caring about videos

Before the premiere, Drake paired the project with a plainly stated defense of making visuals. He argued against the idea that the genre is fading or that viewers no longer care about videos, emphasizing that he still cares about the medium as much as he did while making “Best I Ever Had.”

Fear of Missing Out puts that claim into practice through scale rather than restraint. Its hourlong runtime, five credited directors, range of songs and mix of recurring collaborators all make a case for the music video as something broader than an isolated promotional upload. Whether each scene is treated as a standalone video or as one chapter in the larger film, the release asks the audience to spend time inside a deliberately constructed visual world.

The project’s biggest remaining uncertainty is straightforward: its initial premiere is known, and its contents are known, but the status of the new songs outside the film is not. For now, Fear of Missing Out stands as an event-length audiovisual release—one that revisits Drake’s recent catalogue, adds collaborations with Don Toliver and Yeat, reframes “Choosin’ Texas,” and signs off by stepping down from one of his most recognizable sets.