Not many artists can say they hit number one on two different Billboard charts within the same year of coming home from prison. Max B can. “Minks In Miami” featuring French Montana dropped March 20, 2026, as the lead single from Rick Ross’s upcoming album Set In Stone. By the time it peaked, it had reached number one on the Billboard Mainstream R&B/Hip-Hop Airplay chart, giving Max B his second chart-topping record in under a year. “Ever Since U Left Me” had already taken number one on Billboard Rhythmic Airplay and Mediabase Rhythmic Radio. The comeback was not a moment. It was a run.
Rick Ross calling Max B for “Minks In Miami” was not a random collaboration. Ross has been on record about his respect for Harlem rap and the melodic wave that Max B originated. When you put together the Maybach Music boss, French Montana, and the Wave God on a single track, you are looking at a specific kind of star power that Miami and New York represent together. The song leans fully into that. Luxury, confidence, street roots held under expensive taste. “Minks in Miami, shawty know that I’ma winner” is the opening line and it tells you exactly where this record lives.
Ross anchors “Minks In Miami” with two commanding verses built around his signature larger-than-life boss talk. Losses, loyalty, and legacy. The production sits somewhere between polished and haunting, an old-school feel layered with eerie melodies that ride slow under the verses. It is a rare beat that gives both Ross’s baritone and Max B’s melodic phrasing room to exist without fighting for space.
Max B comes in with exactly what he always brings. That slightly loose, emotionally present delivery that sounds effortless and is not. Where Ross commands the room, Max B draws you closer. There is an intimacy in how Max B moves through “Minks In Miami” that contrasts with Ross’s bombast in a way that makes the record more dynamic than either artist would produce alone. French Montana bridges the two energies the way he always has, matching opulence with street credibility.
The timing of “Minks In Miami” matters in the larger story. Max B had been home from prison for less than four months when it dropped. He was already off the number one with “Ever Since U Left Me” and into this second chart run simultaneously. The industry was watching a man move at a speed that made it clear the sixteen years away had not dulled anything. If anything, the focus was sharper.
The record also operates as cultural confirmation of where Max B stands in the current landscape. Rick Ross is not calling artists who are riding nostalgia. He is calling artists who bring something real to a record. Max B being on “Minks In Miami” as an equal creative force rather than a guest cameo says everything about how the industry received his return.
Stream “Minks In Miami” on Spotify now alongside “Ever Since U Left Me” and the full Wave Gods 2: Cosmos Brothers album. The complete catalog from the original Coke Wave era through everything in the current run is at wavegodmaxb.com/discography. For the full story of the Max B and French Montana partnership, the Coke Wave history post at wavegodmaxb.com covers the whole arc.