Back when he was still one-half of Clipse, Pusha-T dazzled listeners of the Virginia duo\'s mixtape series *We Got It 4 Cheap* by annihilating popular beats of the day. The project\'s sole criticism was that the production was already so good, it could carry anyone. *DAYTONA*, copiloted by hip-hop production genius Kanye West, upends that conceit, with contemporary boom-bap built from luscious soul samples that would swallow a lesser MC. With Pusha at the absolute top of his game, *DAYTONA* is somehow more than the sum of its parts, a fact the rapper acknowledges proudly on “The Games We Play”: “To all of my young n\*\*\*\*s/I am your Ghost and your Rae/This is my Purple Tape.”
Travis Scott sent a message to Apple Music about his third album, playfully attributed to Stormi, his infant daughter: “Just BUCKLE UP.” Stormi can’t speak yet, presumably, but the sentiment still rings true for a record named after a closed amusement park in his native Houston. *ASTROWORLD* delivers its twists and turns via some of Scott’s most personal lyrics yet, unexpected musical arrangements, and a diverse guest list. “SICKO MODE” features multiple beat changes and Drake halted midverse, playing like some kind of funhouse trip. Other sideshows include Stevie Wonder playing harmonica, James Blake crooning, The Weeknd emoting, and Tame Impala’s Kevin Parker shredding — but the main attraction is still Scott\'s life. On album closer “COFFEE BEAN,” Scott tells an unnamed lover, \"Your family told you I\'m a bad move...plus I\'m already a black dude.\" At 17 tracks, *ASTROWORLD* is like any great theme park: There’s just so much to see.
Cardi B’s “Bodak Yellow,” the most chantable song of 2017, introduced the Bronx MC’s lively around-the-way-girl persona to the world. Her debut album, *Invasion of Privacy*, reveals more of Cardi\'s layers, the MC leaning forcefully into her many influences. “I Like It,” featuring Bad Bunny and J Balvin, is a nod to her Afro-Caribbean roots, while “Bickenhead” reimagines Project Pat’s battle-of-the-sexes classic “Chickenhead” as a hustler’s anthem. There are lyrical winks at NYC culture (“Flexing on b\*tches as hard as I can/Eating halal, driving a Lam”), but Cardi also hits on universal moments, like going back and forth with a lover (“Ring”) and reckoning with infidelity (“Thru Your Phone”).
On “Hurt Feelings,” the second song from his fifth studio album, *Swimming*, Mac Miller raps, “I paid the cost to see apostrophes, that means it’s mine/Keep to myself, taking my time.” The Pittsburgh-born MC has always been clever; on *Swimming*, he\'s also direct—particularly about the distance he’s kept from the public eye following a high-profile breakup and other troubles. But this isn\'t a breakup album; Miller says *Swimming* is a more complete picture of his life. “I\'m just talking about things that I\'m proud of myself for, things I\'m afraid of, or things that are just thoughts and emotions,” he told Beats 1 host Zane Lowe. “And I\'m like, \'Why is this interesting?\'” That same curiosity is freeing for Miller, who leans further into the singing he displayed on *The Divine Feminine*. Production-wise, he’s riding ultra-funky basslines courtesy of Thundercat and an altogether jazzy and danceable set overseen by producer Jon Brion (Kanye West, Fiona Apple).
Earl Sweatshirt’s second album, 2015’s *I Don’t Like S\*\*t, I Don’t Go Outside*, is a masterwork of efficiency. At just 10 songs over 30 minutes, not a word is wasted nor a note held a second too long. Brevity, specifically, is a concept Sweatshirt cites in interviews as a guiding principle in his art, one he leans into even further on *I Don’t Like S\*\*t*’s follow-up, *Some Rap Songs*. At an even brisker 15 tracks in 25 minutes, the project is mineral-rich, Sweatshirt losing himself in a relentless pursuit of clever and complex bars. His rhymes are marvels of non sequitur, rarely tracking a theme or singular direction for more than a few lines, all delivered over subdued and unrelenting soul loops. The former Odd Future standout handles the bulk of production as well, though *Some Rap Songs* also includes contributions from frequent collaborators Denmark Vessey and Gio Escobar (of NYC art-jazz duo Standing on the Corner), among others. Vocal guests include two of Sweatshirt’s oldest inspirations—his mother, UCLA professor Cheryl Harris, and late father, South African poet laureate Keorapetse Kgositsile.
Noname releases her highly anticipated debut album, Room 25. The 11-track album was executive produced by fellow Chicago native Phoelix and sees Noname return as a more mature and experienced artist. Room 25 has received early praise from The New York Times, calling her a "Full-Fledged Maverick" in their Critic's Pick review yesterday. Noname also recently opened up in The FADER's Fall Fashion issue about her life since the release of her 2016 mixtape Telefone. Rather than cash in on the hype around her extremely well-received 2016 debut mixtape Telefone, Noname took two years to play shows backed by a full band and refine her craft before releasing her follow up project. Over the last few months anticipation for her new album steadily built with Nonamedropping a stream of hints that its release was approaching. Telefone established Noname as one of the most promising and unique voices in hip hop, and with Room 25 she stakes out her place as one of the best lyricists in the genre and comes into her own as a fully realized artist as she achieves mastery over the style she developed with her first tape. Room 25 arrives a little over two years after Noname released her breakout mixtape Telefone. Upon its release, Telefone received nearly universal acclaim and propelled Noname to become one of the most exciting new voices in music. The intimate mixtape cut through the noise of an oversaturated musical landscape like few other releases have in the last several years. Since the release of Telefone, Noname has built an international presence, successfully touring the world and playing the top festivals. In 2017, she also touched the Saturday Night Live stage alongside collaborator and childhood friend Chance the Rapper to perform a song of his Colouring Book album. The New York Times called her SNL performance "a master class in poise, delivery, and self-assuredness." Noname (AKA Fatimah Warner) grew up in Bronzeville, a historic neighborhood on the Southside of Chicago that famously attracted accomplished black artists and intellectuals of all types. Fatimah first discovered her love for wordplay while taking a creative writing class as a sophomore in high school. She became enamored with poetry and spoken word - pouring over Def Poetry Jam clips on YouTube and attending open mics around the city. After impressive appearances as Noname Gypsy on early Chance the Rapper and Mick Jenkins mixtapes, she gained a cult-like following online that helped set the stage for the life-changing release of Telefone. Coinciding with the album's release, Noname is also announcing her Fall tour, beginning next year in Detroit on January 2nd, she will play 19 shows across North America before concluding at Oakland's historic Fox Theater on March 15. Tickets for the tour will go on sale 9/21 at 10:00 AM local time and will be available at nonamehiding.com.
Even before Playboi Carti’s breakout single, “Magnolia,” early fans were expressing an insatiable demand for new music from the rapper. *Die Lit* comes a year after the self-titled album that brought us that hit, with 19 tracks to make up for the wait. Having joked openly about being called a “mumble rapper,” Carti aggressively leans into the distinction here, thickening his Atlanta accent and even pitching up his delivery on songs like the spacey “Fell in Luv” and “FlatBed Freestyle,” where his couplets devolve into rhythmic yet indecipherable vocals. On the whole, *Die Lit* is a collection of earworms built on minimal and bass-heavy production from Pi\'erre Bourne, assisted occasionally by contributors like Lil Uzi Vert, Skepta, and Nicki Minaj.
In the age of overnight virality, JID’s about craftsmanship and good old-fashioned hard work; on *DiCaprio 2*, it pays off—and then some. On his second album, the East Atlanta native raps circles around just about everybody (including his label boss, J. Cole, who impressively stepped his game up on his “Off Deez” verse) in a dense, breathless drawl that’s bound to draw comparisons to a down-South Kendrick Lamar. The guy’s got bars for days—check “Slick Talk,” a clinic in double-time wordplay that careens from fourth-grade memories to absurdist *Maury* impressions. But he knows how to set a mood, too, recruiting some of 2018’s best producers (Kenny Beats, ChaseTheMoney) and occasionally veering into slick, upbeat R&B. Partial credit is due to the late Mac Miller, who helped post-produce and arrange nearly every song before his tragic death; but it’s JID’s masterful rapping that makes *DiCaprio 2* great.
If *ye*, Kanye West’s solo album released one week prior, was him proudly shouting about his superpower—bipolar disorder—from the peak of a snowcapped mountain, *KIDS SEE GHOSTS* is the fireside therapy session occurring at its base. Both Kid Cudi and West have dealt with controversy and mental illness throughout their intertwined careers. It’s all addressed here, on their long-awaited first joint album, with honesty and innate chemistry. Kanye’s production pulsates and rumbles beneath his signature confessional bars and religious affirmations, but, centered by Cudi’s gift for melodic depth and understated humility, his contributions, and the project overall, feel cathartic rather than bombastic and headline-grabbing. On “Freeee (Ghost Town, Pt. 2),” the sequel to *ye* highlight “Ghost Town,” both men bellow, “Nothing hurts me anymore…I feel free” with such tangible, full-bodied energy, it feels as though this very recording was, in itself, a moment of great healing.
On his brilliant 2015 debut album, *Coming Home*, Texas singer/songwriter Leon Bridges invited comparisons to Sam Cooke and Otis Redding with his authentic take on soul. *Good Thing*, his 2018 follow-up, finds Bridges leaving the ’50 and ’60s, instead embracing ’70s icons like The Stylistics (“Bet Ain’t Worth the Hand”) and Chic (“You Don’t Know”). More surprises come in “If It Feels Good (Then It Must Be)” and “Bad Bad News,” contemporary jams that show he can swag it out with the likes of Usher and Pharrell too. Bridges\' warm tenor is sturdy and smoky as mesquite wood as he combines deep emotions and nimble wordplay on “Beyond,” “Forgive You,” and “Georgia to Texas”—a moving story of his family’s history.
After two concept albums and a string of roles in Hollywood blockbusters, one of music’s fiercest visionaries sheds her alter egos and steps out as herself. Buckle up: Human Monáe wields twice the power of any sci-fi character. In this confessional, far-reaching triumph, she dreams of a world in which love wins (“Pynk\") and women of color have agency (“Django Jane”). Featuring guest appearances from Brian Wilson, Grimes, and Pharrell—and bearing the clear influence of Prince, Monae’s late mentor—*Dirty Computer* is as uncompromising and mighty as it is graceful and fun. “I’m the venom and the antidote,” she wails in “I Like That,” a song about embracing these very contradictions. “Take a different type of girl to keep the whole world afloat.”
Smino’s debut album, 2017’s *blkswn*, introduced the world to the most original voice out of St. Louis since that of Cornell Haynes, Jr. But aside from rapping and singing, Smino and the aforementioned Nelly have little in common. Yet Smino is able to speak to life in St. Louis—and in a much more ambitious sense, the black American experience—on a level akin to the city’s biggest export to date. Smino’s second album, *NOIR*, is a continuation of the themes of *blkswn*. Through a deluge of flows and varying tenors, he cites touchtones of the proud Midwest culture in which he grew up, and he does it over the rap, jazz, funk, and (most prominently) R&B compositions he chooses to ride. There are allusions to his influences throughout, but none more overt than when he borrows slang from Nelly himself for “LOW DOWN DERRTY BLUES.”
Having sprung from L.A.’s Odd Future collective, Matt Martians and Syd innately understand the dynamics of collaboration and ego management. So when The Internet’s third album, *Ego Death*, was nominated for a Grammy in 2016, all five members of the alt-R&B band dove into solo projects rather than crank out a follow-up. “I had a lot of music I needed to get out of my system that wouldn’t have made sense coming out under The Internet,” Syd told Beats 1 host Zane Lowe. “It just made us all feel a lot more free and open to each other’s ideas.” The result is a more sonically inventive and personally assured record, and the cohesiveness is evident in everything from the lyrics to the title. “Going out on our own got us battle wounds that we can all relate to,” said Syd. “We all move in a unit now.”
*FM!* plays like a radio station takeover with Vince Staples at the controls. Over a tight and tidy 11 tracks, three of them skits, the LBC rapper enlists producers Kenny Beats and Hagler for some top-down West Coast perspectives. The mood is especially lifted on Bay Area-style slaps like “Outside!,” reaching maximum hyphy levels on “No Bleedin” and “FUN!” with (naturally) E-40. Other guests chop it up: Picture Ty Dolla $ign in neon jams wielding a Super Soaker (“Feels Like Summer”), Jay Rock and Staples defending their corner (“Don’t Get Chipped”), and Kehlani searching for peace of mind (“Tweakin’”). From the artwork that draws on Green Day’s *Dookie* to the station-break interludes featuring LA radio personality Big Boy, *FM!* presents an anarchic sense of creativity, warmed by the California sun.
SiR shares a boutique label with Kendrick Lamar and has worked with everyone from Jill Scott from Stevie Wonder, but none of that offers a clue to what occupies *November*. His second LP bears a hazy, heady vibe, brooding over relationship issues that seem set somewhere between the middle of the night and the morning after. Whether he\'s second-guessing himself in retrospect on the dreamy \"Better\" or putting up a tough front on the sultry, sinuous \"That\'s Alright,\" SiR offers up a kind of alternate-universe slow-jam album full of intoxicating atmosphere.
From the time he broke in 2008, Nipsey Hussle was one of the West Coast’s brightest hopes for a post-Snoop Dogg superstar. Though he\'d go on to deliver numerous classic street-level projects in the time since, *Victory Lap* is officially billed as Hussle’s debut. The album is rife with the neo-G-funk sound that made his name (“Last Time That I Checc’d,” “Dedication”) as well as the platforms he\'s most proud of: turf-life activism and black business advocacy (“Young N\*\*\*a,” “Million While You Young”). The clout of guests like Puff Daddy, Kendrick Lamar, and Cee-Lo Green is not to be understated, but Hussle’s collaborators, no matter their own fame, understand his importance.
Future delivered *BEASTMODE 2*, the sequel to his 2015 mixtape, to Apple Music with a short, sweet message: “Luv, Pluto.” The greeting-card sign-off harks back to his 2012 debut album, *Pluto*, and while the prolific rapper has since released five solo albums and many collaborations, *BEASTMODE 2* indeed feels like a reward to those who’ve been following along since the start. Like its predecessor, the melodic, piano-filled, nine-track mixtape is entirely produced by fellow Atlantan Zaytoven. But while both mixtapes celebrate his successes, they also share an underlying darkness, detailing addiction and despondency. “Damn, I hate the real me,” he sings on the solemn final track.
One listen to *Harder Than Ever*, the third full-length project from Lil Baby, and the Atlanta rapper’s legend becomes even more unbelievable. Lil Baby, a high-school classmate of Young Thug, allegedly grew up with no interest in rap whatsoever, only trying his hand at the insistence of people like Gucci Mane and Quality Control label head Pee, whom Baby gambled with as a teenager. *Harder Than Ever*, released just two years into Lil Baby’s recording career, is a portrait of a young artist secure in his voice, someone whose flows and song concepts come off leagues ahead of his actual experience. The project’s first three songs are lyrical showcases, with Baby eager to differentiate himself from countless MCs of his generation who’ve found success with no real dedication to technical ability. Baby is one of a handful of younger artists to have a Drake feature but not be eclipsed by it (“Yes Indeed”). Other tracks boast personalities the likes of Lil Uzi Vert and fellow Atlanta native Offset, who both play as supporting cast members for Lil Baby’s first proper star turn.
France-born, London-raised Oliver Godji originally planned to call his debut mixtape *Revenge* as a riposte to anyone who’d doubted his ability to make a success of a music career. He eventually settled on *SPACEMAN*, but his defiant stance still holds. “We all live in space, everyone lives in space, you can create your own space,” he explained to Julie Adenuga on Beats 1. “I have my own space—this is my space.” The 14 tracks here establish his outlying place in the UK rap universe while showcasing a restless, progressive talent that has previously earned a co-sign from Drake. Drifting between rapping, singing, and spoken word, his voice crackles with the experience and emotion of someone way beyond his 22 years, while his kaleidoscopic music cycles through psychedelic trap (“Don’t Cry”), reflective R&B (“Think Twice”), and a fusion of mournful bass music and rave euphoria (“Lightning”). The murky atmospheres and mutating rhythms are offset by a pop writer’s instinct for inescapable hooks, and songs rarely reach three minutes—when you’ve got this many good ideas, there’s no point lingering on one for too long.
Some couples repair rifts in their relationships with expensive therapy. Beyoncé and JAY-Z tour stadiums together and surprise-release collaborative albums that mine their self-mythologized personal drama for big-ticket entertainment. Sonically closer to Beyoncé’s 2016 high-art airing of dirty laundry *Lemonade* than Jay’s 2017 response *4:44*, this isn’t just rubbernecking at the doings inside America’s royal family—it’s a challenging, tense, and thoroughly catchy summertime romp in its own right. When Beyoncé sings, “I can’t believe we made it,” in the appropriately aggressive “APES\*\*T,” she might be referring to the détente in their high-profile marriage; she might mean this very album. The fun is in decoding—but it’s hardly the only fun.
“It wasn’t just verses, it wasn’t just appearances,” 6LACK told Beats 1 host Zane Lowe about the collaborators on his sophomore album. “It was people stepping into my world and saying what they might not say on their track.” Part of the Atlanta native’s launch to stardom was “Ex Calling,” a biting yet conspicuously turnt-down reinterpretation of a song called “Perkys Calling” by fellow Atlantan Future. The revamp clearly was taken as flattery because Future appears on *East Atlanta Love Letter*’s title track, their voices layered together to sing about how their words “hit like a Draco,” the pair likening their pillow talk to the firing of a handgun. “I’m an R&B n\*gga wit a hip-hop core,” 6LACK confesses on “Scripture.” It’s as accurate a definition of the artist’s genre-toeing music as you’ll find. *East Atlanta Love Letter* is another collection of 6LACK’s street sensibility delivered as an R&B confessional, even if the features (J. Cole and Offset among them) skew toward rap’s top spitters.
In The Comfort Of includes features from Xavier Omär, Jesse Boykins III, JMSN, Smino, James Vincent McMorrow, and more.
It was worth the wait for Colombian-American songstress Kali Uchis’s first full-length. A romantic collage of artists and sounds she’s encountered along the way—Tyler, The Creator and Bootsy Collins on “After the Storm”, and Gorillaz’ Damon Albarn on the surfy “In My Dreams”—the album draws on Latin pop (“Nuestro Planeta”), hypnotic R&B (“Just a Stranger”), and high-flying psych-rock (“Tomorrow,” with production from Tame Impala’s Kevin Parker). It’s a sign of Uchis’ artistic vision that she pulled so many creative minds into a single body of work that sounds so distinctly her own.
Released in 2018, J. Cole’s fifth studio album came together in just two weeks, after Cole shared the stage with fellow voice-of-a-generation rapper Kendrick Lamar during his *DAMN.* tour, and decided he was ready for another anthemic body of work. The result, *KOD*, is riddled with social messages and symbolism, starting with the title itself, which is an acronym for many things: Kids on Drugs, Kill our Demons, and King Overdosed. The colorful album art, meanwhile, displays children taking pills, snorting cocaine, smoking weed, and sipping lean (when you look closer, the children can be seen morphing into morbid figures, under the cloak of a jewel-encrusted king). The lyrics on *KOD* are even more provocative, and find Cole leaning inward, unpacking his own traumas, demons, and vices, warning about unhealthy dependencies to materialism and drugs. On “Once an Addict,” the platinum-selling rapper uses his mother’s story to ruminate on the intergenerational effects of alcoholism, while “Kevin’s Heart” finds him using comedian Kevin Hart’s publicized infidelities as a vehicle to discuss Cole’s own internal struggles with monogamy. These are weighty topics. But listeners didn’t mind: *KOD* not only topped the album charts, it broke numerous streaming records on its first day of release.
Despite his presence at the forefront of South Florida’s lo-fi rap explosion—due in part to his meme-generating “Ultimate” single—Denzel Curry remains one of his state’s more under-heralded talents. Not unlike his standout *Planet Shrooms/32 Zel* project, *TA13OO* indulges the MC’s continuously shifting moods, this time separated into three acts Curry calls “Light,” “Gray,” and “Dark.” “I was in a dark space when I was working on the dark part,” he told Beats 1 host Zane Lowe. “I was trynna work on the light part when I was working toward my happiness.” The result—from the balmy funk of the Light act’s “CASH MANIAC” (featuring a standout chorus from newcomer Nyyjerya) to the lyrical pummeling of “BLACK METAL TERRORIST”—is an album that highlights Curry\'s uncanny ability to match mosh-pit-inciting energy with complex and flowery bars.
Evidence has returned to deliver his third solo album, Weather or Not, the final chapter in The Weatherman series before beginning the next saga. “As a writer and a rapper, I’ve been using the weather as a metaphor my whole career,” Evidence explains. “On the Dilated Peoples song “Guaranteed”, I had a line that said, ‘Some think I’m clever, others think I’m the one who makes too many references to weather… or not.’ Every time I would perform that song live, the crowd would always say the ‘or not’, so I knew I was on to something, and it would eventually be an album title.” For Weather or Not, Evidence tapped a stellar cast of producers to share duties with, including Alchemist, DJ Premier, Nottz, DJ Babu, Twiz The Beat Pro, Sam I Yam and Budgie. The album also features an all-star lineup of guests and friends, including Slug (Atmosphere), Rakaa (Dilated Peoples), Alchemist, Styles P, Rapsody, Jonwayne, Defari, Krondon, Khrysis, Mach Hommy and Catero. “I made this album with loyalists in mind,” Evidence says. “There’s nothing that’s unintentional. There are no wasted words.” While the album predominantly highlights his talent as a rapper, Evidence is also a well known producer, photographer and videographer. But, for all of his non-stop, high-level productivity, Evidence is most notably modest, a quality fully captured on Weather Or Not. “Now that the album is finished, I can see clearly that every single song serves its own purpose. To me, it’s like a playlist, or a greatest hits collection…except that none of these songs existed before I made them.”
Maybe more than any other rapper in history, Lil Wayne’s output is defined by franchises. An artist should be so lucky to sustain the kind of longevity that would allow for multi-volume phases the likes of Wayne’s *Dedication*, and *Da Drought* mixtapes, let alone the series that made him into a superstar, *Tha Carter*. Though Wayne was not without projects in between, some seven years were allowed to pass between the release of the fourth and fifth installments of the lattermost. Fortunately, Wayne has rewarded his fans’ patience with 23 tracks that speak to a number of his most storied eras. “Mixtape Weezy,” as Jay-Z famously coined, is alive and well on songs like the Swizz Beatz-produced “Uproar,” Wayne blacking out over a reinterpretation of G-Dep’s 2001 hit “Special Delivery.” The nostalgia doesn’t stop (or peak) there, as Wayne and Snoop Dogg share space over a flip of Dr. Dre’s “Xxplosive” on “Dope N\*ggaz,” while Mannie Fresh revisits the Cash Money golden-era bounce of Juvenile’s “Ghetto Children” for “Start This Shit Off Right.” There are nods to the experimental Wayne of the *I Am Not A Human Being* projects (“Don’t Cry,” “Mess”) and also the rapper’s under-heralded pop wizardry (“Famous,” which features his daughter Reginae as hook singer), and even a love song built on a gospel sample, “Dope New Gospel.” In all, *Tha Carter V* is an album for anyone who’s missed Wayne—no matter which Wayne they’d missed.
As a prospective era-defining artist, it always helps to have a trail of creators who can attest to your influence. It’s even better when one of them is a superstar in his own right. In the case of Young Thug, there are two: Gunna and Lil Baby. Thugger had included Gunna on his 2016 effort, *Jeffery*, and he’d known Lil Baby from around the way—he used to pay the fledgling rapper to leave the trap and hit the studio. By 2017, the two artists’ solo releases had proven Young Thug’s ear for talent and his impact on the sound of Atlanta. In the fall of 2018, Gunna and Lil Baby swirled their abilities for a joint project that affirmed their status as Atlanta’s next rap titans. That album, *Drip Harder*, sees the rappers flaunt a barrage of agile flows and more restrained iterations of their mentor’s famous melodies. Checking in at 39 minutes, *Drip Harder* includes a healthy mix of Baby and Gunna collabs, solo efforts, and guest appearances outside their self-contained supergroup. For “Belly,” the two coast over lithe country strings as they let loose images of luxury, with Baby describing a lush reward for sticking to the code. On “Never Recover,” they attack a pulsing Tay Keith beat as they trade quotable bars with Drake. Elsewhere, on “My Jeans,” Baby and Gunna reunite with Thugger, stretching their own vocals to meet his extraterrestrial warbles. As eccentric as it is infectious, the track is a self-contained example of the YSL family tree, with Thugger’s diverse stylings being the root. Working at their best, Gunna and Lil Baby’s energy ricochets off one another for anthems that feel like more than the sum of the beats and their vocals. Lacing the Western strings of “Drip Too Hard,” the two serve up a theme song for drip gods everywhere; Gunna takes off from Lil Baby’s indelible hook like he’s received an outlet pass. For the chorus, Lil Baby says they have the type of wave you can drown in. It sounds like a warning, but with its mix of streetwise songwriting and stretchy sing-rapping, *Drip Harder* is the best kind of immersion.
I HATE WHEN DRAKE RAPS DRAKE SINGS TOO MUCH DRAKE IS A POP ARTIST DRAKE DOESN’T EVEN WRITE HIS OWN SONGS DRAKE TOOK AN L DRAKE DIDN’T START FROM THE BOTTOM DRAKE IS FINISHED I LIKE DRAKE\'S OLDER STUFF DRAKE MAKES MUSIC FOR GIRLS DRAKE THINKS HE’S JAMAICAN DRAKE IS AN ACTOR DRAKE CHANGED ANYBODY ELSE > DRAKE … YEAH YEAH WE KNOW
Meek Mill knows how to make an entrance. “Dreams and Nightmares,” the opening track from his 2012 debut, became one of the most chantable rap songs of the era. “Intro,” the opener from the rapper’s fourth studio album, *Championships*, revisits the same energy, this time with the dramatic flair provided by a sample of Phil Collins’ “In the Air Tonight.” *Championships* serves as a reintroduction, of sorts, for the rapper. Its title refers to a feeling of accomplishment that Meek is finally comfortable embracing after a tumultuous few years in the limelight, including a bitter rap feud with onetime friend Drake (who officially closes out the beef with an appearance on *Championships*’ “Going Bad”), a high-profile breakup, and a stint in jail stemming from a probation violation related to a charge he caught roughly 10 years prior. “I feel like I’m at a championship stage in my life,” Meek told Beats 1’s Ebro Darden. “I call it beating poverty, beating racism, beating the system, beating gun violence, beating the streets. Once I made it through all that, I got to a point in my life where I’ve been living good and balling, doing what I do.” The album is plenty celebratory, with the Philly rapper partying in New York City’s Washington Heights on “Uptown Vibes” and then showing off with the neighborhood’s queen, Cardi B, on “On Me.” “Splash Warning,” “Tic Tac Toe,” and “Stuck in My Ways” are all classic Meek-flexing (lest we forget that Meek gets money, that money buys nice cars, and that the women he courts love both money and nice cars). But the MC breaks new ground on “What’s Free,” a song built on the Notorious B.I.G. classic “What’s Beef?,” where, alongside Rick Ross and JAY-Z, Meek breaks down the hurdles he must leap over to capitalize on the opportunities he’s created for himself. “Trauma,” too, is Meek rapping with conviction about prison’s parallels to slavery, as well as the plight of former NFL player-turned-activist Colin Kaepernick. *Championships*, then, is the many sides of Meek—a rapper who speaks to the streets of Philadelphia as one of its biggest success stories and also a man compelled to talk about his country’s injustices as someone who has dealt with them head-on. “I don’t want to be an activist,” Meek told Ebro. “That’s not my goal. God put this on my lap where my situation brought attention to it. I want to address it and I want to do some real things, take action, do some real things that make change, but through my music.”