Satellites 2.5 by Kevin Gates

Song overview

A moody, intimate track that pairs Kevin Gates’s streetwise bluntness with spiritual and romantic commitments — mixing imagery of loyalty, marriage, faith, and violence into a portrait of devotion and protection.

Historical context

• Artist context: Kevin Gates is known for blending candid street narratives with introspection, spirituality, and relationship themes. His work often toggles between toughness and vulnerability, and Satellites 2.5 continues that pattern.
• Place in Gates’s writing: The lyrics show classic Gates motifs: faith-language (gratitude, “Alhamdulillah”), vows and marriage imagery, and frank references to violence/protection. That combination — sacred and profane — is a recurring feature of his catalog.
• Tone & purpose: The track reads as both a love song and a vow of protection: celebrating an intimate partner while asserting readiness to defend and provide. It moves between ceremony (weddings, prayer) and street reality (guns, retaliation), reflecting Gates’s characteristic duality.

Lyrics

[Intro]
It's only two things I take serious
(February come back 'round again)
And that's marriage and murder
(When February come back 'round again)

[Verse 1]
Pack touched, thank God it landed
PSA automatic
Public show of affection
If complicated graspin'
We stay on different floors when
Pickin' a place of travel
Hotel, two separate rooms 'cause
We can't have sex 'til marriage
(We can't have sex 'til marriage)

[Refrain]
Wedding in Morocco when February come back 'round again (Satellites, come 'round again)
(Cut from a different fabric)
Wedding in Morocco when February come back 'round again (Come 'round again)

[Verse 2]
Bless the sage, lit the sage
Cleanse the energy, set the stage
Beautiful, we tailor-made
Something only God could've created
We fast together and we pray
Working out how we start our day
Say Alhamdulillah, all praise to the Creator
Hold on, let me switch the cadence, everybody sworn favorite
People tend to think I'm Michael Jackson reincarnated
Learnin' how to moonwalk, I admit it took some patience
Love the faces you be makin' when your body start shakin'

[Chorus]
Satellites
You'll never find nobody like this
Nobody like, nobody like this
Satellites
You'll never find nobody like this
Nobody like, nobody like this

[Verse 3]
People be payin' attention when we in attendance, admit we look good together
Seem like time slow down whenever we vibe out, the universe wait a few seconds
Bae, you a blessing, I'm grateful to be in this tub, in the bed we layin' in naked
Baby, you sexy, whenever the driver outside, he might have to wait a few seconds
You go inside of the closest, you matchin' my fly and I love when you tryin' on dresses
Zippin' your zipper up take a lil' time so you might gotta tip a lil' extra
Smilin' while I squeeze on your booty like a Ruger
You don't need no bodyguard, girl, I'm a shooter
We already did some things that you ain't did before
Yeah, I did that
Now work it out (Let it all out)
Made you make some sounds, I'm killin' you, gun, dead

[Chorus]
Satellites
You'll never find nobody like this
Nobody like, nobody like this
Satellites
You'll never find nobody like this
Nobody like, nobody like this
Satellites

[Outro]
You waited all this time
Nobody like, nobody like this (Satellites)
We really made love
Wedding in Morocco when February come back 'round again (Satellites)
We really made love
Wedding in Morocco when February come back 'round again
We gon' get it right, get it right
We gon' get it right
When February come back 'round again

Key quoted lines (central hooks / images):

“It’s only two things I take serious — And that’s marriage and murder.”
“Wedding in Morocco when February come back ’round again.”
“Satellites — You’ll never find nobody like this.”

Step-by-step breakdown — line-by-line

Intro

• “It’s only two things I take serious / And that’s marriage and murder” — Sets the tension: Gates treats both sacred commitment and deadly defense with equal, solemn weight.

Verse 1

• “Pack touched, thank God it landed” — A weapon being loaded/checked; relief it worked.
• “PSA automatic” — Reference to automatic firearm; street preparedness.
• “Public show of affection” — Balancing public intimacy with private constraints.
• “We stay on different floors… Hotel, two separate rooms ’cause / We can’t have sex ’til marriage” — Moral/relational rules: delaying sex; preserving sanctity. Creates contrast between desire and discipline.

Refrain

• “Wedding in Morocco when February come back ’round again” — A romantic/ceremonial future plan; exotic, ceremonial image tied to a recurring time (“February”).

Verse 2

• “Bless the sage, lit the sage / Cleanse the energy” — Spiritual cleansing rituals; seeking pure space for relationship.
• “Something only God could’ve created” — Elevates partner to divine uniqueness.
• “We fast together and we pray / Say Alhamdulillah” — Explicit Islamic reference: shared faith practices and gratitude.
• “People tend to think I’m Michael Jackson reincarnated… Learnin’ how to moonwalk” — A lighter, playful interlude showing charm and cultural reference; humanizes him.

Chorus

• “Satellites / You’ll never find nobody like this” — “Satellites” as metaphor: they orbit, watch over, are rare — suggests partner is orbiting his life and is exceptional.

Verse 3

• “People be payin’ attention when we in attendance” — Power couple image; status elevation.
• “Seem like time slow down whenever we vibe” — Deep connection; world pauses.
• *Sexual lines (“in this tub… bed… you sexy…”) * — Physical intimacy celebrated, sensual detail.
• “You don’t need no bodyguard, girl, I’m a shooter” — Reassurance: he will protect her; combines tenderness with threat.
• “Made you make some sounds, I’m killin’ you, gun, dead” — Violent metaphor mixing eroticism and lethal imagery; hyperbolic claim of dominance.

Outro

• Repeats vows: making love, wedding plans, promise to “get it right” — resolves the tension introduced at start toward commitment.

Side-by-side annotated lyric sheet

Song details

Theme

• Dual commitment: equal weight given to marriage (sacred) and murder (protection/retaliation).
• Faith and ritual: spiritual practices (sage, fasting, “Alhamdulillah”) anchor the relationship.
• Public status vs private vows: couple as spectacle, but bound by intimate vows and rules.
• Protection = Love: violent readiness framed as expression of care/loyalty.
• Resolution: longing for a proper, formal union (“Wedding in Morocco”) and to “get it right.”

Meaning

The song frames love as a sacred project that must be guarded fiercely. Kevin Gates juxtaposes ritualized faith and romantic vows with street pragmatism and violent protection: devotion is both tender (fasting, prayer, wedding plans) and militant (guns, readiness). “Satellites” functions as a metaphor for rarity and constant orbit — the beloved is central, watched over, and unique.

FAQs

Q: Why “marriage and murder” together?
A: It expresses Gates’s worldview: he takes both sacred commitment and protecting that commitment (by any means) seriously — marriage as lifelong bond; murder as extreme defense of honor/safety.

Q: What does “Satellites” mean here?
A: Likely a metaphor for someone rare who orbits and stabilizes his life — or for the couple’s elevated, watchful status.

Q: Are the religious references sincere?
A: The lyrics include concrete religious acts (fasting, saying “Alhamdulillah,” sage). They read as sincere elements in a relationship shaped by faith and gratitude.

Q: Is the violent language literal or poetic?
A: Mostly poetic/hyperbolic within Gates’s street-realist persona — used to signal protection, dominance, and credibility.

Conclusion

Satellites 2.5 is Kevin Gates at the intersection of devotion and defense: prayerful rituals, wedding vows, and sensual intimacy are balanced against the raw language of protection and street survival. It’s an intimate pledge wrapped in the reality of the streets — love as sanctuary and a code worth fighting for. 💍🕊️🔫✨