50 Cent says Diddy’s music sucks
50 Cent Says Nobody is Buying Last Train to Paris Because Diddy’s Music Sucks
The long-standing tension between 50 Cent and Diddy has erupted once again as 50 Cent publicly blasts Diddy’s music, calling it “bad,” “unauthentic,” and “a promotional tool” in recent interviews. With Diddy’s Last Train to Paris on its way, 50 isn’t holding back—and the shots come with surgical precision.
While both men have claimed to move past their differences in the past, 50’s latest remarks suggest that old wounds have not healed completely. In fact, the timing of the insults—just as Diddy ramps up promotion for his upcoming project—seems intentional. But whether it’s rooted in old beef or honest critique, one thing is clear: 50 thinks that Diddy’s music sucks. As a result, he’s not afraid to say it.
From Songwriter to Opponent: The Origin of the Feud
The friction between 50 Cent and Diddy dates back nearly a decade. Thus, rooted in both personal history and business tension. After being dropped by Columbia Records following his infamous shooting, 50 Cent worked briefly as a songwriter for Bad Boy Records. Bad Boy is the label founded and run by Diddy. At the time, Diddy reportedly saw potential in the young Queens MC.
But the budding relationship quickly soured when Diddy allegedly found out that 50 Cent had brought a weapon to work. Therefore, prompting Diddy to sever ties. That decision would later prove pivotal. As a result, 50 Cent re-emerged in 2003 under Eminem and Dr. Dre’s Shady/Aftermath umbrella. Thus, quickly becoming one of the most powerful voices in hip hop.
Their feud remained largely subliminal for years, with 50 taking subtle jabs at Diddy on records like “The Realest” and during interviews. The tension intensified when 50 tried to sign Mase, who was still under contract with Bad Boy. When Diddy blocked the move and threatened legal action, the gloves came off.
“His Music Sucks:” 50 Cent’s Latest Critique
Speaking to Jam N 94.5, 50 Cent didn’t mince words when asked about Diddy’s latest musical efforts.
“His music sucks,” 50 said. “It’s bad. He’s not an artist anyway, so it doesn’t really matter.”
50 took particular aim at Diddy’s role in Last Train to Paris, where the hip hop mogul has decided to pivot away from rapping and instead explore a more experimental, vocal-heavy sound.
“He says he doesn’t write rhymes—he writes checks. Now he’s a singer? That’s Kanye’s part. Kanye’s an artist, if he’s making those artistic choices. Puff is just buying a record and singing.”
Last Train to Paris: A Promotional Tool?
Perhaps the harshest part of 50’s criticism came when he suggested that Diddy doesn’t even believe in the album himself.
“Nobody’s buying Last Train to Paris. He even said it himself that he doesn’t expect it to sell. He doesn’t care about the sales. He’s just using it as a promotional tool.”
50 paints Diddy’s recent musical moves not as creative evolution but as strategic branding—aligning with buzzworthy names and trends to stay culturally relevant, rather than producing meaningful art.
He even criticized Diddy’s recent alignment with Rick Ross, accusing Diddy of using Ross’s momentum for clout.
“Why does Rick Ross remind him of Biggie? Any Biggie fan objects to that. How can he say that?”
50 Cent Says It’s Not Personal—But the History Says Otherwise
While 50 insists that his current critique is based solely on the quality of Diddy’s new music, the years of personal and professional animosity between them make the timing hard to ignore.
In a separate interview with Power 98, 50 doubled down on his claim that Diddy’s music isn’t just bad—it’s bad for hip hop.
“From a business perspective, it seems like a cool move. But not a cool move for hip hop.”
By suggesting Diddy is weakening the genre, 50 positions himself as a purist defender of hip hop integrity, a stance he often leans into when critiquing others.
A Ceasefire Once Upon a Time
Back in 2006, the pair publicly ended their feud on MTV, with Chris Lighty confirming a “ceasefire.” They even collaborated on 50’s “I Get Money (Remix)” in 2007, giving the impression that the past was behind them.
But even a temporary truce couldn’t erase years of beef. In his 2006 mixtape G-Unit Radio Part 22, 50 dropped a brutal diss called “Hip-Hop”, where he suggested Diddy knew more than he let on about the murder of The Notorious B.I.G.
“Who shot Biggie Smalls? / If we don’t get them, they gonna kill us all.”
Lines like that aren’t easily forgotten.
Diddy’s New Direction and Mixed Reception
Last Train to Paris is set to be Diddy’s final studio album, and it’s a marked departure from his earlier work. Built around themes of love, loss, and vulnerability, the album features his new group Dirty Money, comprised of Dawn Richard and Kalenna Harper.
While singles like “Angels” and “Hello Good Morning” have received mixed reactions, Diddy remains committed to the vision, even if it means abandoning traditional rap.
But 50 Cent isn’t buying the artistic narrative. To him, the album’s experimental angle is a smokescreen, disguising Diddy’s lack of creative authenticity.
Fans Divided Over the Criticism
As always with 50 Cent, fan reactions are split. Some agree with his take, pointing out that Last Train to Paris hasn’t generated the kind of anticipation that previous Diddy albums once did.
Others see the criticism as hypocritical or rooted in jealousy, pointing out that 50 himself has pivoted into film, TV, and business—the same kind of career expansion he now criticizes Diddy for.
Still, the debate surrounding Diddy’s musical relevance in 2010 is gaining traction. Whether fair or not, 50 Cent’s comments have sparked renewed interest in Last Train to Paris, for better or worse.
Final Thoughts: Critique or Campaign?
At its core, 50 Cent’s takedown of Diddy straddles the line between personal vendetta and honest industry critique. On one hand, he’s a truth-teller willing to call out subpar music. On the other, he’s a master of manipulation, who knows how to dominate headlines with a few well-placed jabs.
Whether or not Diddy’s Last Train to Paris delivers, 50 Cent has already made sure it enters the conversation—on his terms.