PlaqueBoyMax has revealed that a particularly frosty edition of In The Booth almost entered the group chat: an episode with Drake making music inside an igloo-themed setup. The creator said he made the pitch when Drake was first building public anticipation around ICEMAN, but the idea did not move forward because Drake was touring and had a crowded schedule.

It is an entertaining near-miss, and not merely because any studio constructed around literal ice would present the average sound engineer with an alarming number of questions. PlaqueBoyMax’s proposal was rooted in the visual language surrounding the ICEMAN rollout: take the “freezing” concept and turn it into a custom booth, then capture the creative session as an episode.

Drake’s response, as PlaqueBoyMax described it during a livestream, was positive about the idea itself. The obstacle was logistics rather than a flat rejection. With touring underway, Drake could not commit to making it happen. That means there is no announced collaboration, no confirmed recording, and no indication that the session was ever filmed. For now, the igloo remains an unused level in the In The Booth universe.

An idea built for the format

In The Booth is a recurring PlaqueBoyMax format centered on collaborations with recording artists and the process of making music in the studio. The sessions have become a notable part of his growing work as both a content creator and a music-focused personality. Their appeal is straightforward: viewers get more than a polished song or a promotional photo. They can see artists and creators meeting in a setting designed around a particular concept, then trying to turn that energy into music.

The proposed Drake edition would have taken the format’s custom-booth approach and attached it tightly to an active album-era motif. PlaqueBoyMax referenced previous custom booths involving Central Cee when explaining the pitch. In this case, the booth would have been an igloo, playing directly into the cold-weather imagery attached to ICEMAN.

That distinction matters. A regular studio visit can document a collaboration, but a purpose-built setting gives a session an instantly legible hook. The room becomes part of the episode’s identity before anyone presses record. An igloo booth would be easy to understand at a glance: it is Drake, it is ICEMAN-era imagery, and it is a strange enough recording environment to make people wonder how the session will unfold.

What “custom booth” means here

A custom booth, in this context, is not simply a standard vocal booth with a themed sign taped to the door. It means the recording environment is tailored to the guest or the episode’s visual premise. That can help a music-creation video work on two tracks at once:

  • Music track: the artist and host work through a creative session.
  • Visual track: the physical set gives the audience a memorable frame for clips, thumbnails and discussion.

The concept can be especially useful in livestream and short-form ecosystems, where an episode often needs to communicate its basic premise quickly. In that sense, the proposed ice setting was not a random prop. It was a form of visual shorthand tied to the artist’s public album narrative.

Touring was the practical roadblock

The timing PlaqueBoyMax described places the outreach during the earlier public buildup around ICEMAN. Drake was also touring Australia, New Zealand and Europe in support of $ome $exy $ongs 4 U. PlaqueBoyMax said Drake had a lot happening and was unsure whether the session could be arranged.

That answer leaves the door technically open while making the immediate reality clear. A custom content shoot is more involved than sending a quick remote greeting or appearing on a simple livestream. The guest’s travel calendar, the crew, the build, the studio time and the broader promotional schedule all need to align. Add an elaborate icy setting and the coordination burden only gets more substantial—though, mercifully, the available details do not require anyone to calculate the melting point of a rap rollout.

The important part is that PlaqueBoyMax characterized the response as enthusiasm for the pitch, not a commitment. Fans should treat it as an unrealized proposal rather than an upcoming episode. There is no announced date, location, release plan or confirmation that a Drake appearance is still under discussion.

Why the collaboration would draw attention

Drake is no stranger to livestream-oriented activity, which makes the format feel plausible even if this particular installment never materialized. A music-making session has a different rhythm from a conventional interview: it can include conversation, beat selection, writing, improvisation and the unpredictable pauses that are usually edited out of a finished release. For viewers, that is the appeal. The process is part of the program.

For PlaqueBoyMax, a guest at that scale would also represent another step in the expansion of a format already associated with artist collaboration. The core value would not be celebrity proximity alone. The best version of the idea would be the matchup between an established artist’s album imagery and a creator-led series built to make studio work feel immediate and shareable.

That blend of music rollout, internet personality and themed presentation also overlaps with the broader pop-culture conversation that often brushes against gaming spaces. Music news can even become part of gaming speculation when artists are linked to major releases, as seen in discussion around Future’s recent album talk and a GTA VI soundtrack connection. PlaqueBoyMax’s Drake pitch is not a game announcement or a soundtrack story, but it shows how creators increasingly build music moments around a clear, instantly recognizable concept—the entertainment equivalent of a highly specific event skin.

Where Drake’s current material fits

ICEMAN has since materialized after its earlier hype period. Separately, Drake has released FOMO, a short film made up of several vignettes and music videos connected to “HABIBTI” and “MAID OF HONOUR.” Those releases give fans new Drake material to focus on, but they do not change the status of the igloo session: it remains hypothetical.

There is a small irony in the timeline. PlaqueBoyMax initially tied the set design to an album campaign that was still emerging in public. By the time the story has been shared, the album is no longer simply an early-rollout idea. Yet the visual premise could still make sense if both sides ever revisit it, because the proposed episode was designed around an established thematic identity rather than a one-day social post.

Still, it would be premature to assume a delayed shoot is planned. A positive reaction to an idea, especially one received during a hectic tour schedule, is not the same as a production green light. The only solid takeaway is narrower and more interesting: PlaqueBoyMax had a concrete creative concept, Drake reportedly liked it, and logistics prevented it from becoming an In The Booth episode at that time.

The real takeaway: format is part of the collaboration

The story underscores what makes themed music content work when it does work. The attraction is not necessarily the promise that a massive guest will appear, nor the assumption that a session must produce a finished hit. It is the care put into giving a collaboration its own setting and premise.

In this case, PlaqueBoyMax did not merely ask Drake to sit in a studio. He had a visual idea tailored to the moment: an igloo booth for an artist then leaning into ICEMAN imagery. Even as an unmade episode, it is a clean example of how a creator can pitch a collaboration as an experience rather than a booking.

Whether Drake ever enters that booth is unknown. PlaqueBoyMax is expected to continue hosting sessions with other artists, and the original concept remains a useful reminder that some of the most memorable internet-music ideas are the ones that almost happened. This one simply got left out in the cold.