OsamaSon Turns First Class Fest Set Into a Showcase for Unreleased Music

OsamaSon has spent much of his career dealing with a problem that has become increasingly familiar in modern rap: music escaping before the artist is ready to release it. Rather than allowing the issue to define the way his songs reach audiences, however, the rapper appears to be incorporating that unpredictability into his live performances.

At Toronto’s First Class Fest, which took place over the weekend, a lineup change resulted in OsamaSon performing on both nights of the festival. He used his Saturday, August 29, appearance to do something especially unusual: perform a set made up almost entirely of unreleased material.

The 18-song performance gave fans an early look at several tracks that have not yet received official releases. Among the songs making their live debuts were “All Day,” “Range Rover,” “Guap in My Pants,” “Movie,” “Broad,” and “Creek.” Footage from the performance has since circulated online, giving listeners a glimpse of what may be coming next from one of the more closely watched young rappers in the underground and internet-driven rap scene.

OsamaSon’s full setlist included “LeBron James,” “Lil O the Impaler,” “All Day,” “Horses,” “Roster,” “Snowman,” “Range Rover,” “Beat It / Private,” “Guap in My Pants,” “Movie,” “HiTech Demon,” “Broad,” “Ref,” “Habits,” “Vamp City,” “Off That!,” “Creek,” and “My Bad.”

The performance is notable not only because of the number of unreleased songs but also because of the circumstances surrounding OsamaSon’s catalog. His music has repeatedly been affected by leaks, with unfinished tracks and complete projects reaching the public before he has been able to present them on his own terms.

In 2024, more than 400 unreleased OsamaSon tracks were reportedly included in a major data dump and subsequently spread across the internet. The scale of the leak made it difficult for fans to distinguish between scraps, demos, alternate versions, and songs that might have eventually appeared on official projects.

The situation continued in January 2025, when OsamaSon’s album Jump Out leaked several weeks before its scheduled release. The premature arrival of the album disrupted plans for its rollout and eliminated promotional opportunities that had likely been designed to build anticipation around the project.

Speaking to The Fader at the time, OsamaSon expressed a complicated reaction to the leaks. “I’m happy they want it so bad. But if they would give me a chance, I’d drop that shit,” he said. He went on to explain how leaks interfere with an artist’s ability to control the presentation of a project.

“When y’all drop the shit for me, if I wanted to drop a trailer, if I wanted to go on live and preview it, if I wanted to do a music video, it all goes out the window,” he added.

His comments point to an important distinction between fan enthusiasm and artistic control. Leaks may demonstrate that listeners are eager for new music, but they also remove the context that artists use to shape a release. A song can lose its intended impact when it appears without mastering, sequencing, artwork, or the promotional strategy connected to it. An album leak can be even more disruptive, particularly for an artist whose projects rely on atmosphere, momentum, and surprise.

The First Class Fest set offered OsamaSon another way to manage that tension. By performing unreleased songs himself, he could introduce the material in a live environment while deciding which tracks to emphasize. The performance also gave fans an experience that was different from simply downloading or streaming a leaked file. Hearing a song debut in front of a crowd creates a shared moment, even if clips later appear online.

At the same time, the setlist may intensify speculation about OsamaSon’s next official project. Fans have already been following his teases for a collaborative album with Nettspend. The two artists occupy overlapping spaces within contemporary internet rap, where unreleased songs, snippets, fan edits, and live recordings can generate as much conversation as formal singles.

A collaboration between the pair would likely attract significant attention, but OsamaSon’s history with leaks makes the project particularly difficult to predict. The rapper may be attempting to maintain tighter control over the music, while fans continue to search for new snippets and recordings. The playful warning attached to the discussion “Google Drive ninjas don’t get any ideas” captures the uneasy relationship between anticipation and unauthorized distribution.

For now, the First Class Fest performance has given listeners more questions than answers. It remains unclear which of the newly performed tracks will receive official releases, whether they belong to a forthcoming solo project, or whether some will remain exclusive to live performances and fan-recorded footage.

What is clear is that OsamaSon is not allowing the leak-heavy history of his catalog to stop him from creating anticipation. His Saturday set transformed a potential disruption a festival lineup shakeup, into an opportunity to present a large collection of new material. In doing so, he offered fans a glimpse of his next phase while reclaiming, at least temporarily, the moment of debut.

After the leaks surrounding his previous music, the performance was more than a preview. It was a statement about visibility, control, and the unpredictable way music now reaches an audience. Whether the songs eventually arrive through an official album, a collaborative project with Nettspend, or another unexpected release, OsamaSon has made sure that fans are paying attention.