DayTheActivist, Fadhil & Tria, & Slimewelch –「guess what we’re going to doo?」Lyrics and Meaning

US

Song Introduction

Released in late 2024 or early 2025, "guess what we’re going to doo?" represents a compelling collaboration between Atlanta-based rapper DayTheActivist, the melodic duo Fadhil & Tria, and producer Slimewelch. The track sits at the intersection of cloud rap, alternative trap, and melodic hip-hop, capturing the zeitgeist of Gen-Z restlessness and romantic fatalism.

The song’s title—with its intentional elongation of "do" to "doo"—immediately signals its thematic core: the anticipation of something undefined yet thrilling. It’s not just about what will happen, but the pregnant pause before the action, the secret shared between participants before the night unfolds. This linguistic playfulness reflects the track’s broader aesthetic: casual on the surface, but layered with emotional complexity beneath.

Lyrics

[Intro]
Guess where we're going to do?
[Verse 1: DayTheActivist]
In the morning, I get up, I brush my teeth and get ready grinding
So hard but everything's gonna be all right you niggas nothing,
See the trees (oh yeah) flashing everywhere I just want to get on
(Oahhhhhhuh)
[Pre-Chorus: Fadhil & Tria]
Got me like a drug
I think I'm falling for a crush
But you got me tipsy
Cross my heart and hope to die
You make me always wanna lie
Got my heart chasin
[Chorus: Fadhil & Tria]
You got my love for you
Don't wanna give anybody else my truth
Don't you know I'd dance on broken thorns for you
So go ahead and guess what we are gonna do
[Post-Chorus]
Call me on the phone (guess what we're going to do)
Call me on the phone (guess what we're going to do)
[Verse 2: DayTheActivist]
Kill all night, Party all night, and everything will be alright
And now ahh, there's nothing gon' wrong but…

Lyrics Meaning & Interpretation

From Mundanity to Intoxication: The Narrative Arc
The lyrics map a psychological journey from morning routine to nocturnal abandon. The opening lines—"In the morning, I get up, I brush my teeth"—establish a deliberately banal starting point. This isn’t the glamorous rapper lifestyle of immediate luxury; it’s the grinding reality of modern existence. Yet the phrase "everything's gonna be all right" acts as a mantra, a self-soothing incantation that transitions the narrator from work mode to release mode.
The reference to "trees flashing everywhere" operates on dual levels: literally, the blur of scenery during transit (suggesting movement and escape), and colloquially, as a potential allusion to cannabis culture ("trees" being common slang for marijuana). This ambiguity enriches the text—whether the intoxication is environmental, substance-induced, or romantic remains deliberately unclear.
Chemical Romance and Digital Intimacy
The pre-chorus introduces the song’s emotional core through Fadhil & Tria’s melodic interpolation. The comparison of attraction to drug use ("Got me like a drug") might seem like standard pop fare, but paired with "tipsy," it creates a specific texture of impaired clarity. This isn’t sober, rational love; it’s messy, hazy, and happening at the edges of consciousness.
The line "You make me always wanna lie" introduces a fascinating complication. Following the childhood promise "Cross my heart and hope to die," the admission of deceit suggests a relationship built on necessary fictions—perhaps hiding the relationship itself, or the activities described in the song. In the context of "Call me on the phone," we see a portrait of modern intimacy: connections maintained through digital mediation, secrets shared through screens, and the "truth" reserved exclusively for one person while performance is maintained for the world.
Masochistic Devotion and Hedonistic Release
The chorus’s central metaphor—"I'd dance on broken thorns for you"—elevates the song from casual hookup narrative to martyrdom mythology. The image evokes Christian iconography (the crown of thorns) repurposed for secular romantic sacrifice. It’s excessive, painful, and willingly embraced—a "dance" that acknowledges the harm while celebrating the performance of devotion.
The post-chorus repetition of "Call me on the phone" transforms the title’s question into a command. The guesswork becomes a game, the secrecy a source of arousal. By the final verse, the accumulation of excess—"Kill all night, Party all night"—reaches its logical conclusion with the trailing "but…" The sentence hangs unfinished, suggesting either an impending crash or the impossibility of describing what comes next.
The Unspoken Answer
Ultimately, the song’s power lies in what it refuses to specify. "Guess what we’re going to do" is never answered because the answer is simultaneously obvious (sex, drugs, partying) and irrelevant. The anticipation—the shared knowledge between participants and the exclusion of the listener—creates a conspiracy of pleasure. The elongated "doo" in the title becomes a vocalization of excitement, a sound rather than a word, representing experiences that transcend language.

Musical Style & Production

Slimewelch’s production likely complements this lyrical ambiguity with lo-fi, hazy textures—think woozy synths, trap-adjacent hi-hats, and submerged basslines that mimic the "tipsy" sensation described in the lyrics. DayTheActivist’s delivery sits in the "mumble rap" tradition, prioritizing vibe and cadence over enunciation, while Fadhil & Tria provide the melodic anchor that transforms the track from street narrative to singalong anthem.
The structure—moving from the grounded reality of Verse 1 to the ethereal harmonies of the chorus—mirrors the physical movement from day to night, from sobriety to intoxication, from public performance to private truth.

Conclusion

"guess what we’re going to doo?" captures a specific emotional state: the liminal space between responsibility and release, between public persona and private desire. It’s a song about the rituals of escape—the phone calls, the promises, the substances, the lies we tell to protect our joy.
In the current landscape of hip-hop, where vulnerability often takes the form of melancholy, this track offers a different flavor of openness: the admission that sometimes we need to destroy our routines, to "kill" the night rather than savor it, and to find truth in the temporary, ecstatic present. The question in the title isn’t really a question at all—it’s an invitation.