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DINNER! Lyrics – ISSBROKIE
“DINNER!” Lyrics by ISSBROKIE is a latest English song from “SWAGGOT! (B SIDE)” in the voice of ISSBROKIE. Its music too is composed by singer while brand new “DINNER!” song lyrics are also written by ISSBROKIE.
When “DINNER!” drops from ISSBROKIE’s SWAGGOT! (B SIDE) it arrives like a late‑night table crash in a scene already stacked with the chaotic genius that defines his 2025 output. SWAGGOT! the parent project clocked near 20 tracks of whip‑smart hip‑hop swagger and experimental punch, and the B SIDE—where “DINNER!” sits—feels like the after‑party where we hear the artist loosen his grip on convention and lean into texture and personality over polish.
The production on “DINNER!” is less beat, more backdrop: dusty kicks mash with off‑kilter samples and spoken‑word chatter that feels like a found tape from a house party gone sideways. The drums skitter, bass lurks, melody peeks in like a mischievous guest—this isn’t a track you sit with, it’s one you spill with. Vocally, ISSBROKIE rides it like a conversation turned performance, verses delivered as if debating tacos versus pizza, humor bleeding into existential hunger with punchlines that land like unexpected bass drops.
Lyrically, “DINNER!” turns mundane chaos into commentary on craving and connection without overstating a thesis; the absurdity becomes the point. Fans on socials have clipped moments into memes, the track’s candid, overheard energy giving it underground liftoff. In the arc of ISSBROKIE’s career, “DINNER!” is the oddball entrée that somehow steals the set—raw, humorous, and unforgettable within the larger SWAGGOT! universe.
Lyrics of “DINNER!” by ISSBROKIE
So, are you guys hungry at all? Um
I could, I could, I could probably eat
I feel like, yeah, wh-what about you?
Hold on, yeah
Well, are you opening— (Hold on)
Are you, are you looking at options?
I gotta up— what, like Postmates or like DoorDash?
Well, last time Postmates like came on a bike and the food was cold
Last time I used Postmates they like, they like didn’t leave it at the door
They left it, like, in front of the garage and also like—
Well, I mean, that’s like, that could be a DoorDash, it’s like, like
Per-person issue, I don’t know if it’s like a difference (??) in service
No, but, they like— no, no, no, okay, but DoorDash is like stricter with who they have
I just don’t like Postmates, I feel (Me neither, yeah; Yeah)
Door— Postmates just doesn’t have, like, a cool aura
Yeah, just do, just open, just do DoorDash (Okay), just do DoorDash
Here, um, what’s around? Wh-what time is it?
Double D, hah, sorry, that didn’t— (What?; What does that mean?)
I’m sorry, that didn’t— (Oh, for DoorDash?)
Yeah, yeah-yeah (That wasn’t funny), oh
What is, um, what time is it? Do you know what time it is? (It’s like 10:52)
So it’s, um, some stuff is gonna be closed in this area
Phew, I mean—
Hey, can you like not hit your vape in my face, please? That like— (Sorry)
What flavor is that, actually?
Did you get the berry banana one? (Nah)
That didn’t smell like berry banana, it smelled like— (That’s, that’s, it’s uh, cool mint)
Oh (Okay)
Can we get back on track with the food thing?, yeah ‘Cause I didn’t eat breakfast
I honestly am kinda hurt by how you reacted to my DoorDash joke and I honestly—
I didn’t, what? I didn’t say anything, though, I just, I didn’t get—
What the fu*k are we ordering? (Oh, well, yeah, can we—)
Well, I kinda wanna get this conversation out of the way before we—
There’s not, there’s no conversation to be had, I’m just saying that it—
I mean, there is because my feelings are hurt and— (But it didn’t land)
It wasn’t a joke that landed (Alright, alright)
And that’s fine, you don’t have to be (Nah, i-it, alright, whatever)
(??)’s Pizza
I don’t know, eh, d— we had it like two times this week
Just pizza, no, well, just pizza in general we had
And then you had— ’cause you like all the weird stuff on pizza
What, like mushrooms? (Yeah, it’s gross and olives)
What? I love mushrooms, yeah, no, they’re fine (No-no, but he also puts like, like artichoke hearts and like)
Do you guys like anchovies? I really like anchovies (I like anchovies; I’m not a— no, no-no-no)
This is why we can’t do the— no, because you guys are gonna (You’re the odd one out in this scenario)
So what? (You’re so) So, so just fu*k me then? So, just fu*k what I want?
We don’t have to get pizza
Okay, that’s what I’m saying (I kinda wanna)
K— then what am I gonna do? You— I’m just gonna have to do my own thing
You guys get to do a group order and I do— (Oh, I thought you were still talking about the— whatever)
Okay, okay, okay (What are you? Okay)
Cheesecake Factory (That’s absurdly expensive)
Hold on, let me look
You aren’t even buying the food, dude
I’m chipping in, I thought we were all chipping in, I thought this was a group pay
Yeah, I-I’ll pay for like one fifth (Oh-oh, I thought he was getting all of it)
Oh, you’re— are you, are you getting the food?
Fu*k no, Cheesecake Factory’s fu*king crazy expensive
That’s what I said, it was expensive, so we shouldn’t do that
Okay, well, p— (They have good stuff, but it’s—)
Pasta, Pasta DaVinci is twenty-nine fift— that’s crazy, right? (Yeah, no, we don’t need that)
Hell no, it’s fine (Nah)
Well, what do you— do you, uh
I’m not opposed to, like, just Mexican food in general as an idea
And it could be even something like Taco Bell, it doesn’t have to be, like, real (Like Tex-Mex?)
Yeah, yeah, I’m fine with Tex-Mex
I’m, I’m not really feeling Tex-Mex right now, I feel like, I feel like I could, uh
How do you pronounce this restaurant?
I’m not s— (It’s) I’m not gonna try to (No, I’ll do it, I’ll do it)
It’s uh, El Tes— El— sorry (You won’t get that), okay, yeah, no, it’s fine
I could’ve done that, by the way (How about that one?)
Um, El, El Capiton, um, Tac— (??), okay
Well, I could’ve, you know
These are things that I can do and I feel like you’re just not giving me the chance
To see my full potential, with like the, th— (What’s that one?)
That one is El Rancho Grande Mexican, that one was easy, so we could do that one
That’s not even what it said (That is what it says)
I thought it was like El Rancho (No, no, let me read it again)
It is— no, you— well, i-it could be El Rancho, that’s a possibility
Are we, are we? (I’m so hungry, man)
Okay, okay, do we want Mexican? (Square one) Do we want— (I just wanna get food)
Okay, what genre of food are we thinking?
What genre of food? Like (What type, what type; What type of cuisine, like, what kind of cuisine)
American, like burgers and s*it? Or like
Honestly, Tex-Me— no, no, not Tex-Mex (No Tex-Mex, so that’s off the table)
Hold on, um, my boy is calling me real quick, it’s like, can I take this? (Your boy is calling you, dude?)
But we have like a thing that we’re doing right now
Well, yeah, but I-I said I’d call him like an hour ago, like he didn’t
Can it be quick? Can you make it quick?
I’ll try to make it quick (Make it quick), okay (I’m hungry as fu*k)
Yo (So yeah, what, um), hold on (I don’t know, hold on?)
Do you mean like— d-don’t listen to him, he’s on— (Okay)
He’s on the phone, so that’s a separate thing (Oh, okay, okay)
So we could, uh, so you said Tex-Mex is out, it’s out? (Yeah, nah)
Okay (I’m not, I’m not really)
And then pizza, we have too many disagreeances on
With, with, just, or disagreements with like, the toppings
Are you serious? That’s fu*king crazy (I mean, no, I-I don’t like, I’m not, uh)
I don’t want half the stuff that you guys want and so and then if he’s gonna pay for it, yeah
Hold on, yo, can you guys, can you guys stop for a second?
Where have— where you— what?
We’re trying to get food over here
Can you step over there if you wanna— (Yeah, that’s fine, yeah, yeah)
‘Kay, just don’t like, don’t raise the volume of your voice when you go over there
Just keep it at the same (Um, why would I? He can hear me the same)
You’re louder already, you— (You are, you do get louder)
‘Cause, ’cause I stood farther away to talk to you guys
Whatever dude, whatever, just do your fu*king call, dude (Just stay over there)
Yeah, do that, do that, do that (You don’t have to be so fu*king rude)
Do that, do that, just do that, just go do that (I’m sorry, I’m sorry)
I get hungry, I get grumpy, alright? (Okay) Alright
I haven’t had Italian in like— in like a minute
Yeah, I
Last time I had Italian, I (Yeah, I can’t, I can’t do that (??))
Hey, dude, you’re still being really fu*king loud
(I’m speaking in this normal volume like I normally do) You’re not, though, you’re not speaking in a normal volume
Is there, is there like a problem that you have to resolve on the phone? Is that why this is happening? (Okay, alright, I’ll call you later)
Who’s calling? Who was that?
E— Stephonathan, it doesn’t matter
Who the fu*k is Stephonathan? (It’s, I hate that guy)
Don’t ask because then he’s gonna tell you about him and I don’t wanna hear the same story again
It’s the same s*it (Oh, s*it, that)
That’s not a real name, that’s a— (Yo, that’s a brewery (??))
I don’t wanna hear this story about him again, you always tell this story to everybody that will listen (Dude)
That’s a made up person (That’s, you’re encouraging), is this an inside j— am I— (No, you’re encouraging)
It’s a person
We get it, no, that’s great, can we move on? So
Okay, okay, um, we were in the middle of talking about Italian, but you were saying something
Ugh, okay, (??)’s Pizza is just, just close
Hello friends, look at this Reel, look at this Reel, look at the— haha (Um)
Haha, haha, look at the Reel, haha, haha (Sorry, there was)
Metro Booming make it boom (I’m sorry)
Stop showing me fu*king Instagram Reels, dude (I’m sorry, I’m sorry)
Yeah, no, it— it, uh, later, maybe later for Reels, um
That was funny, though (Thank you, thank you, haha)
That was a good one, that was a really good one (Thank you, thank you)
Papa John’s
Where we already did the pizza conversation and you were here for that, you weren’t even on the phone
So, I don’t underst— are you good right now? Are you sick right now, are you still sick?
Choked up by my spit (You said you were fine), I choked— (You said you were over the sickness and that you could hang out tonight)
Super Duper Burgers, that’s a real place, that’s actually a real place (Yeah, yeah, Super Duper fu*king, whatever, bro)
I know that’s a real place
Well, I don’t wanna eat anything if I’m gonna be in the room with a sick person that’s gonna let me breathe in all the— (I’m not ge— I’m not fu*king sick)
See, hey, he just coughed, he just coughed (Oh my fu*king God)
He wasn’t coughing before and then you coughed in the last (??) (It’s because he’s been hitting his fu*king vape in my face for the last five fu*king minutes)
You, you coughed and then he coughed (You’re so fu*king insufferable)
If I get sick because of this, I’m gonna be fu*king pissed, I have s*it to do
Like, he’s gonna fu*king die or (Yeah, what do you have to do?)
I have a lot of stuff to do and I don’t— (Like what? Like what?)
I don’t need to disclose, I don’t need to disclose any of that to you
I don’t need to disclose, no I don’t (Oh, you don’t need to disclose anything? Why do I even hang out with you?)
No, I’m asking you the same question, why would you come here to hang out with me?
My phone died
Your phone fu*king died?
Yeah, phone just died, it’s what happens
Why didn’t you char— you dead, okay, maybe if you didn’t take the fu*king phone call over there (Hello, hey-hey guys, stop fighting, look at this)
(Ha, haha, haha, oh; I wanna see that clip) Stop showing us Reels
Who’s the fourth guy? Get him out
What are we gonna do? What are we doing with this?
I’m gonna go to bed
You’re gonna go to bed? (You’re gonna go to bed)
Yeah, I’m gon’— I’m gonna go to bed
You’re gonna go to bed? (Well, I don’t, I just, you guys are just being d!cks, I just wanna go to bed)
So you? (Oh, oh, we’re being d!cks)
Oh, we’re being d!cks when you’re trying to do (You forgot to charge your fu*king phone, really?)
You said my friend isn’t real and I’m tired of this
I never said that, I just wanna eat (What, what the fu*k was his name?)
Stephonathan, Stephonathan (Stephonathan)
Whatever you wanna eat, I’m gon— I’m gonna (??) (Stephonathan)
You go somewhere (Stephonathan, he’s a better friend than you)
Fu*k off, he’s not fu*king real (Oh, that’s great, that’s great)
Fu*k you, go fu*k yourself (Go fu*k yourself, yeah, whatever)
Fu*k you, you fu*king piece of s*it, Jesus Christ
I can’t, I just, we gotta stop inviting him, yeah
So do we, um
Do we do our own thing with the food now, or?
It could be easier, theoretically (Um, we can, let me see if my phone—)
Yeah, ’cause yours (I don’t even have my phone on me)
Okay, well, here, I have my phone on me
I’ll opn it, I haven’t opned DoorDash in a minute so sometimes it does like a stutter thing where it takes a minute to
(I forgot my bag) Oh, look who came crawling fu*king back (Well, well, well)
Look at you, a$ (Here you are; I forgot my bag)
Yeah, you forgot your bag, yeah, of course, yeah
No, I think what happened is you went out there and you realized you made yourself look like an idiot ’cause you overreacted to nothing
That’s what happened and now you’re back, yeah
Now, you’re about to say, “Oh, I might as well stay for a little bit longer if you guys are still doing the food thing
I’ve cooled down a little bit,” you’re gonna use that excuse, the same one you use all the time
Alright, man, he’s up on it a little bit, alright, because you’re being a little
You’re being a little (Okay, I’m sorry)
Can we just get like Taco Bell and just like not even think fu*king about it?
Yeah, fu*k it (Sure, whatever)
Fu*k it, Taco Bell, Taco Bell it is
Do you wanna share something from Taco Bell?
I don’t even wanna discuss that, let’s just get Taco Bell (Okay, um), thank you
Who wants to pay? (Fu*k)
I mean, he, like, originally wasn’t gonna come, so like, I feel like I got you already, that was established before, like, he came over
Yeah, but now, but-but he, but you
So are you gonna pay for yourself? We could, do we spli— does it split the— can you do a three-way split on a DoorDash order? Is that somethin—
I hate this, I’m just gonna get it for all of us
Okay (Okay, that’s fine), that works for me, I’m not gonna argue with that (Okay, okay; Yeah, yeah)
That, that daps up (Yeah, you should probably be in a very good mood)
That was— that was better, okay
See, see how loud that was? (See how we got it on the first try?)
That’s ’cause you weren’t originally invited (But you, that’s because you left and came in, yeah ’cause this was gonna be an us thing)
See all the chemistry we do have (And you didn’t have that)
And then you come in and make (??)
I just wanna eat something, I just wanna eat something
That’s what we all wanna do and that’s why we’ve been trying to figure that out the entire time and
You know, not to rehash anything, but you are the one that took a phone call (I’m so fu*king hungry, dude)
I’m hungry too, who’s— so you’re ordering?
I’m not fu*king ordering, I— (You just said you would)
My phone isn’t in the fu*king room (So what are you gonna do, Apple Pay me?)
Apple Pay you? You offered to get it (Ugh, you just said you would get it)
Oh my God, oh my God dude (You just told me you got us, you said I got us)
I’m calling (??) right now (You said it, that’s not)
Hahaha, who the fu*k is (??)?
That’s my friend
That’s not your friend, he’s not real (He’s real)
Who?
Are you— are you taking the meds? (What?)
Oh my fu*king God, again (I’m hungry), holy s*it
Well, you can’t, you shouldn’t be eating anything right now
I’m supposeed to eat Tac— Taco Bell with my meds
Who’s, you can’t convince me that a doctor told you that
Yeah, he said double layer chee— (Who, who? What’s his name? What’s the doctor’s name? Saved)
Doctor Spunbuddy (Oh my God)
Hahahaha
Skit’s over, skit’s over
DINNER! Official Music Video
Meaning of ‘DINNER!’ Lyrics Explained
The track kicks off with that familiar moment we all know too well—everyone figuring out if they’re even hungry. It starts casual, almost lazy, with the kind of hesitation you get when your stomach is growling but your brain is still half-asleep. One person thinks they could eat, another hesitates, and it’s this tiny, relatable hesitation that sets the tone. It’s the way friends sound when they’re indecisive, when they’re feeling out each other’s moods before committing to anything. Someone brings up ordering food, and suddenly the conversation shifts to logistics—Postmates, DoorDash, cold deliveries, and where exactly the food might get dropped. Even in this small exchange, there’s tension, humor, and the reality of modern life: convenience apps are supposed to make life easier, but they can also create mini-dramas. The way they dissect past experiences with Postmates, debating reliability and “cool aura,” highlights how picky and subjective these small annoyances can feel when you’re hungry. It’s not just about food—it’s about expectations, trust, and minor grievances building into something comedic yet oddly stressful.
Once DoorDash becomes the chosen platform, the group starts scanning options, checking time and availability. It’s a subtle reminder that in real life, decisions aren’t just about preference—they’re constrained by practical details like store hours and delivery windows. While one person tries to steer the conversation, the other’s vaping and flavor comments derail the flow, perfectly mimicking how small irritations can derail even simple decisions. The back-and-forth about flavors, the smell versus expectation, and side commentary on previous jokes shows that human interactions are rarely linear. People bring in their emotions, previous experiences, and personal quirks, which is exactly what makes these conversations feel authentic. One person even admits to feeling hurt by how a joke landed—or didn’t—showing that humor and offense are intertwined in real-life interactions, and how fragile social negotiations can be.
Then comes the classic “what do we want to eat” argument, and suddenly it’s not just hunger—it’s about identity and taste. Pizza gets dissected with surgical precision: toppings, past orders, personal preferences. Mushrooms, olives, artichokes, anchovies—all become stand-ins for deeper social negotiations. Who gets to dictate the group choice? Who’s the odd one out? There’s a subtle negotiation of inclusion and exclusion. Someone wants to go their own way because the group preferences conflict with theirs, illustrating how even tiny disagreements can highlight differences in personality and taste. These arguments are funny, yes, but they also feel very real—the chaos, the insistence, the backtracking, the passive aggression, the little “you always want what you want” moments—these are all the textures of friendship when the stakes are low but feelings are still involved.
Money and logistics enter the conversation next, bringing practical tension into the comedic chaos. Who’s paying? How do we split it? Some members are willing to chip in partially, others feel reluctant, and the misunderstanding grows. The debate over expensive options like Cheesecake Factory versus more modest choices reflects not just finances but also social dynamics—there’s pride, consideration, and occasionally resentment mixed in. This part of the skit highlights how negotiation, compromise, and generosity all intersect in mundane, everyday decisions. Someone eventually volunteering to pay for the group shifts the energy—it’s like a mini-resolution. Suddenly, the tension eases because someone took responsibility, showing how small acts of generosity can be a social balm, especially when tempers are short and hunger is high.
As the discussion moves to cuisine options, the indecision keeps building. Mexican, Tex-Mex, American, Italian—all possibilities are weighed, argued, and discarded in rapid-fire dialogue. People call restaurants, check pronunciations, and even deal with interruptions from phone calls. The overlapping conversations, side commentary, and interruptions from friends’ quirks create a tapestry of chaotic realism. This isn’t just about food—it’s about communication styles, personality clashes, and the unpredictability of group dynamics. Some voices dominate, some retreat, and others punctuate the conversation with humor or sarcasm. This ebb and flow captures the exhausting but hilarious energy of decision-making in a group setting. Even mundane choices become arenas for expression, negotiation, and social maneuvering.
Then there’s the recurring joke about someone’s friend, Stephonathan, who may or may not exist. This running gag highlights how social narratives can spiral, how inside jokes or disagreements can magnify small confusions, and how people interpret reality differently. Some get frustrated, others laugh, and the group dynamics oscillate between tension and camaraderie. The skit smartly mirrors everyday experience—friends arguing over trivialities while still caring enough to engage, even when the logic seems absurd. That mix of absurdity, frustration, and affection is the core of why this skit resonates—it’s funny because it’s chaotic, but relatable because we’ve all been there, arguing passionately over something small while still maintaining bonds.
Interruptions keep happening—someone forgot their bag, someone else is too loud, a phone dies, a vape blows smoke—these minor annoyances pile up, layering realism onto the narrative. It’s not just about hunger; it’s about patience, tolerance, and the art of managing emotions in tight spaces. The dialogue captures micro-conflicts with precision: who speaks louder, who steps away, who apologizes, who overreacts. Every detail matters because it mimics how small things escalate in real life. The skit doesn’t resolve these immediately, which is part of the charm. It shows that social interactions aren’t neat—they’re messy, iterative, and often circular.
Finally, the group coalesces around Taco Bell, the simplest choice that allows everyone to participate. The resolution feels earned—it isn’t just the food that matters, it’s the act of compromise, the shared experience, and the small victories over miscommunication. Payment gets sorted, tempers cool, and the chaos settles into cooperation. The skit ends on a note of exhausted satisfaction: the goal is achieved, bonds are preserved, and humor punctuates the exhaustion. The mundane act of ordering fast food becomes a lens to explore friendship, communication, patience, and generosity, while also entertaining with rapid-fire dialogue and relatable chaos.
The brilliance of this track lies in its ability to take an everyday scenario—friends figuring out what to eat—and expand it into a microcosm of human interaction. Hunger drives the story, but personality, ego, communication styles, humor, and patience shape the narrative. The skit mirrors life: little frustrations, repeated clarifications, moments of irritation, bursts of humor, and eventual compromise. The track captures how people navigate shared spaces, make decisions together, and negotiate both tangible and intangible expectations. Through its dialogue-heavy, realistic approach, it shows that even the smallest moments can be rich with insight, humor, and reflection on human behavior.
Even the chaotic repetition of arguments and interruptions isn’t wasteful—it’s purposeful. It demonstrates pacing, conflict escalation, and relief. The way each member reacts differently emphasizes character dynamics: some are controlling, some defer, some joke, some overreact. This layering of personalities makes the skit feel cinematic; you can almost see each person gesturing, rolling their eyes, sighing, or interrupting. The attention to small details—the smell of a vape, misheard flavors, partially dead phones—grounds the skit in reality and makes the humor hit harder.
The dialogue also cleverly explores the absurdity of modern conveniences. Food delivery apps, social media distractions, phone calls—all the tools meant to make life easier create friction instead. By exaggerating these small modern annoyances, the skit reflects a truth many can relate to: technology simplifies tasks, but human factors often complicate them. The result is humor, empathy, and relatability rolled into a chaotic but coherent narrative.
Patience is another recurring theme. Hunger makes people irritable, misunderstandings snowball, and minor slights feel amplified. Yet, through repeated negotiation and slight gestures of goodwill—agreeing to pay for the group, suggesting simple options like Taco Bell, or stepping away politely—conflict diminishes. The track shows that patience, compromise, and empathy, even in tiny doses, can resolve tensions that otherwise seem insurmountable. The progression from chaos to compromise mirrors real social problem-solving in intimate, relatable ways.
As the skit winds down, there’s also a subtle commentary on accountability. People recognize mistakes: forgetting a bag, overreacting, taking a call at the wrong time, miscommunicating. Rather than escalating indefinitely, the characters confront errors, apologize, and adjust behavior. This reflects real friendship dynamics: conflicts are inevitable, but resolution depends on self-awareness and willingness to cooperate. The skit portrays this process in a playful, exaggerated, and highly relatable manner.
The humor throughout isn’t random—it’s structured around timing, interruption, and contrast. Fast exchanges, overlapping dialogue, and micro-frustrations generate comedic tension. The punchlines often emerge from human imperfection: someone missing details, mispronouncing a restaurant, or exaggerating a minor grievance. The track captures the essence of natural conversation, where humor often arises spontaneously from small conflicts, awkwardness, and competing priorities.
The skit also subtly celebrates the ordinary. Choosing dinner, splitting a bill, deciding where to eat—these are small, mundane acts. Yet ISSBROKIE elevates them into something engaging and entertaining, showing that even trivial experiences can reveal humor, tension, and connection. Listeners can see themselves in these scenarios, recognizing both the chaos and the ultimate resolution, which makes the track universally relatable despite its specificity.
Even the fictional or exaggerated elements, like the friend Stephonathan, function as tools to highlight social dynamics. Whether real or imagined, he becomes a focal point for tension, annoyance, and humor. This fictionalization adds absurdity while also mirroring real life, where imagined slights, imagined expectations, or misunderstood social cues can feel very real in the moment. The skit thrives on this interplay between reality and exaggeration, grounding absurd moments in relatable emotions.
The interplay between impatience, humor, and resolution makes the track feel like a miniature social experiment. Observing how the group negotiates space, attention, and priorities offers insight into human behavior, communication patterns, and the balancing act required in group dynamics. It’s a reminder that even minor conflicts, if treated with humor, patience, and small gestures of kindness, can transform into shared experiences that strengthen social bonds rather than weaken them.
By the end, the narrative arc is complete: hunger drove initial tension, miscommunication fueled conflict, minor annoyances punctuated the chaos, and compromise, generosity, and humor created resolution. The track captures the rhythm of human interaction in everyday life, making something as ordinary as ordering dinner feel like an immersive, cinematic, and relatable story. It’s a perfect blend of comedy, realism, and social commentary, reflecting how friendships operate under pressure, how negotiation works in small communities, and how humor and patience turn chaos into connection.
DINNER! Song Credits & Production Details
All credits are property of their respective owners.
| Song Title | DINNER! |
| Album | SWAGGOT! (B SIDE) |
| Singer(s) | ISSBROKIE |
| Musician(s) | ISSBROKIE |
| Lyricist(s) | ISSBROKIE |
| Featuring | BLCKK, Teenage Disaster |
| Release Date | January 1, 2026 |
| Language | English |
More Lyrics from “SWAGGOT! (B SIDE)” Album
Check out all songs from the SWAGGOT! (B SIDE) Album.
SWAGGOT! (B SIDE)
- NEZUKO! (I ain never watched demon slayer lmao)
- BINGO!
- RUNNIN, GUNNIN, GONE!
- DUFFY!
- UP THERE!
- ALREADY KNEW IT FREESTYLE!
- 2T1L!
- BEACH DAY!
- STITCH!
- WD!
- PAPARAZZI!
- TRISH!
- TRIP!
- 1THANG!
- FALALA!
- SHE˂3IT!
- JUST FOUND OUT THE DS IS OLDER THAN ME LMAOAOAO!
- Y’ALL DON’T KNOW MA BODY!
- DINNER! (Currently Reading)
Frequently Asked Questions About DINNER! Song
Who is the singer of the song ‘DINNER!’?
The song ‘DINNER!’ is sung by ISSBROKIE.
Who wrote the song ‘DINNER!’ by ISSBROKIE?
The song ‘DINNER!’ by ISSBROKIE is written by ISSBROKIE.
Who produced the music for the song ‘DINNER!’?
Music of the song ‘DINNER!’ is produced by ISSBROKIE.
When was the song ‘DINNER!’ officially released?
The song ‘DINNER!’ is officially released on January 1, 2026, accompanied by its official music video.
What album is the song ‘DINNER!’ from?
The song ‘DINNER!’ is from the album titled ‘SWAGGOT! (B SIDE)’.
“This concludes the lyrics of DINNER!” by ISSBROKIE. If you like this song please share it with your friends and family in USA. If you find any errors in it, please feel free to submit the correct version via the Contact Us section.