Come and See Me - Intellectual

PND and Drake garner a lot of attention from women due to the sensual vibe in their music. They usually don’t have to make much effort (despite some demanding requests) to get a girl to comply.

This specific woman is questioning their selfish mentality, which serves as a sobering reminder that men should be making an equal effort to visit their woman, instead of always expecting her to make the journey.

On “Things and Such,” Party called a taxi for himself just to go and satisfy his woman’s needs, while Drizzy has asked a former lover why she never visits him at his place on “My Side.”

This man may be there by her side at times, but although he is physically present, he is not mentally present.

Even if Drake was standing in a field, his mind would be somewhere else because he may act like he cares about her, but he doesn’t really.

Yet another Drake sports reference for the trophy room.

On “FWU,” Party sings:

Workin' in the East but you know we’re in the West End

Party is actually from Mississauga, which is West Toronto—on occasion he refers to the city as West District.

Party’s girl is presumably back in his hometown (West), while he’s touring and making music in the East. Consequently, it’d be easier for her to come and visit him instead of the other way round—he wants her to hold him down while he’s away.

PND’s crew, OVO, has a number of artists that call the East Side of the Greater Toronto Area home. Drake and Majid Jordan both hail from Toronto and reference East Side neighbourhoods in their music:

I got real ones livin’ past Kennedy Road

In the final couplet, Drake realizes that he’s the one messing things up—he can’t even describe what her place looks like.

This track reverses a situation that Drake raps about on “My Side”—this time it’s Drizzy who’s not going to her place:

Why you never come to where I stay at?
Always hiding out in your New York condo

It seems Drake signed this girl to the “Sweeterman” contract but she had second thoughts and started seeing someone else.

Although Drake also sees other girls, this still makes him jealous. He expressed a similar sentiment on “Hotline Bling”:

Girl you got me down, you got me stressed out
Cause ever since I left the city, you
Started wearing less and goin' out more

Despite usually waiting for the girl to call him, Party asserts himself by trying to initiate a late-night meet up, similar to the encounters Drake detailed on “Hotline Bling.”

However, this woman isn’t flattered by Party’s offer. She feels like he’s using her for convenient sex. She’s sarcastic as she criticizes him for making a late-night booty call.

Perhaps she’d rather go shopping for a Rolex in daylight?

On “Moment 4 Life,” Nicki Minaj rapped:

But to live, doesn’t mean you’re alive

Drake was featured on that track and applies a similar message here. For this girl’s “side piece” to be alive he must have a heart, but the organ Drake refers to is more than a pump. Just because this person has a heart, it doesn’t mean they’re using it to care for this girl.

And you don’t even have to ask twice
You could have my heart or we could share it like the last slice

Party isn’t ready for a real relationship but his girl is. To him she’s just a booty call—this is why he never puts in the effort to go to her place.

“Oui” is the French word for “yes.” Party knows that she’s hinting at a relationship but he deflects with a sarcastic joke. He doesn’t want to talk about their situation right now, he only wants her to say “oui” (French for yes) when he asks if he can come over.

Party has a song titled “Speaking French” where he sings: “Do, do you wanna sleep with me?” in French:

Voulez, Voulez-vous coucher avec moi?
Voulez, Voulez-vous coucher avec moi?
Voulez, Voulez-vous coucher avec moi?
Voulez, Voulez-vous coucher avec moi, ce soir?

The question was famously first posed in Patti LaBelle’s 1975 soul/funk hit “Lady Marmalade.”

On “Wednesday Night Interlude,” PND experienced a similar bout of introspection.

Been a minute since we’ve slept together
Gotta get myself together
I’ve been thinkin' about everything
I don’t know if it’s because I’m lonely

This relationship has died at his hand, and it’s a far cry from the message on “No Feelings.” He doesn’t yet feel responsible for the end, but he’s trying to make sense of it.

There is danger of getting into a relationship while being in the limelight. A woman can get paranoid when their man goes on tour and is around a lot of adoring women. They may also become infatuated by the allure of money.

Despite his friends' warning, he believed these factors wouldn’t change the way she acted towards him. Stylistically, the sentiments expressed here are similar to those in the track “Things & Such,” where Party reflects on his own public image, and the detrimental effects it had on his and Kehlani’s relationship:

She said “Who’s that nigga?”, he’s a R&B singer
“Who’s that nigga, what’s his intention?”
You say “he’s a good nigga, he’s a good nigga, he’s a hood nigga”

PND now avoids questions about Kehlani during interviews.

Drake’s always on the road. The night this song was released, he announced at SXSW that he’d be back in Austin later in the year for the presumed Views tour.

Drake’s taking some responsibility in this relationship by trying to make time for his girl in advance, but he also requires some effort on her part. He wants this girl to take sick leave from work, so they can hang and she still gets paid.

Assuming Drizzy’s girl is in Toronto, the only way for her to get paid sick days is if she works at a company with over 50 employees—paid sick days are not guaranteed for smaller firms under Ontario public health laws. Corporate gyal!

Drake responds to the last line on the hook, insisting he isn’t in the mood for yet another argument.

He rapped about a similar situation earlier in his career on Chris Brown’s “Deuces (Remix)”:

Seems like we’re arguing more and it’s getting less romantic

This line contains a certain level of irony, as the main complaint, portrayed in the hook, is that Party doesn’t make the effort to visit her, yet he seemingly disregards this and offers her an open invitation to hook up with him.

This ignorance is potentially deliberate, allowing the listener to sympathise with the female’s perspective, a rarity in male driven music. Alternatively, the lust he has towards this woman may’ve clouded his judgement, and he’s not using his brain to make decisions so to speak…

Thinkin' my heart don’t got nothing to do with my penis
He got a mind of his own and he just be seeing shit