Tyler Perry stay winning. His latest film, “Divorce in the Black”, has been killing it for Prime Video. The drama may have received harsh criticism from reviewers but its value to Amazon is undeniable.
So check this out, according to “Variety”, the movie has been driving new Prime Video subscriptions. What does that really mean? “Divorce in the Black” is achieving the highest subscriber increase among any Amazon-MGM-produced projects to date.
Get this wild figure. The film attracted significant viewership, amassing 498 million minutes watched within its first four days on the platform. During the week of July 8-14, “Divorce in the Black” ranked third on Nielsen’s Top 10 streaming chart, trailing behind Netflix’s “Beverly Hills Cop: Axel F” and Paramount’s “If”.
So basically it’s a tour de force.
ICYMI, “Divorce in the Black” was released on July 11, and has emerged as one of Tyler Perry’s most divisive films, receiving a 0% rating on Rotten Tomatoes. Hold up. ZERO PERCENT? Sheesh … That marks the lowest rating on RT, of any Perry film, ever … OMG.
Anyways, the Prime Video exclusive stars Meagan Good and Cory Hardrict as a couple dealing with the aftermath of their split. Good’s character, Ava, is a banker whose marriage to her abusive husband, Dallas, deteriorates. As Ava tries to move on, Dallas vows to make her life miserable. That’s the synopsis and critics hate it but people are watching it. Go figure.
Despite the ugly criticism, “Divorce in the Black” has found massive success in connecting with audiences and boosting Prime Video’s subscriber base. Like they needed any more money. Ha.
Kanye West and Ty Dolla Sign’s newest album, Vultures 2, is being deemed one of the worst hip-hop albums of the decade according to reviewers on Metacritic. The site lists the project at a score of just 40, which positions it last among hip-hop albums in the 2020s. The X (formerly Twitter) page, Hip Hop All Day, took note of the score on Monday morning.
It also ranks among the worst of all time, beating out only Tekashi 6ix9ine’s DUMMY BOY and Iggy Azalea’s In My Defense. Fans have been debating the harsh criticism of Vultures 2 on social media in response to the update. “Idk if the score needed to be that low, but also what do you expect when you drop an album that clearly isn’t completed,” one user admitted. Another fan argued: “That low is insane wtf. Album was unfinished, however a couple tracks in there still better than most of the new sh*t I hear coming out. Kanye deserved better.”
INGLEWOOD, CALIFORNIA – MARCH 14: Rapper Kanye West performs onstage during the “Vultures 1” playback concert during Rolling Loud 2024 at Hollywood Park Grounds on March 14, 2024, in Inglewood. (Wally Skalij/Los Angeles Times via Getty Images)
West and Ty Dolla Sign dropped the project on August 3. It features appearances from Playboi Carti, Don Toliver, Kodak Black, Future, Lil Wayne, Young Thug, Lil Durk, Lil Baby, Young Thug, and many more artists, but sounded unfinished on day one. Despite the hype, Taylor Swift’s Tortured Poets Department outperformed it on the US Billboard 200, instead earning its 14th week at No. 1.
“Vultures 2” Disapoints Critics
Kanye West & Ty Dolla $igns ‘Vultures 2’ debuts with a score of 40 on Metacritic
This makes it the lowest reviewed rap album of the ENTIRE 2020s decade so far.
In addition to making headlines for the poor reviews, West also has been trending on social media for his antics while hosting a DJ set over the weekend. At the event, Kanye reportedly played songs by both Diddy and R. Kelly back to back. Producer Mike Hector, who was in attendance, wrote on X (formerly Twitter): “I’m at this party and kanye djing. he played 2 diddy songs and then a r kelly song right after. this n***a do not give a f*ck.” Be on the lookout for further updates on Kanye West and Ty Dolla Sign on HotNewHipHop.
PartyNextDoor has seemingly underestimated his star power over the years; a nonchalant pioneer of our time. His impact is undoubted, as we’ve seen the soundscape of R&B evolve alongside him, whether through the seductive bedroom gems that he unleashed on Soundcloud or bodies of work, like the first three installments of the PND series, that shifted R&B each time through nocturnal soundscapes or island-flavored hits that dominated summers. Or even the diamond and soon-to-be-diamond hits he wrote like Rihanna’s “Work” and DJ Khaled’s “Wild Thoughts.”
His mystique has played into certain narratives, such as those that suggest his role at OVO is to primarily pen Drake’s music. But the reality is that Party earned the luxury of being a reclusive auteur who works on his own time rather than becoming a machine churning out hits, which he’s more than capable of doing. “I get into relationships and then music becomes second,” he told Billboard earlier this year. “I think I’m going to take a break from relationships, a long break, and just get back to making music.”
With the release of P4earlier this year, PartyNextDoor is sticking to the course. As understated of a project that P4 might be in the grander discourse of 2024 releases, its impact didn’t miss the OVO Stans who patiently waited four years between PartyMobile and his latest album. On Monday, he touched down in Montreal for the first time in eight years for the Sorry I’m Outside tour. It marked the first of two back-to-back sold-out shows at MTelus, a venue with a capacity of 2,300 – an indication that he miscalculated his demand. In fact, by the end of Monday’s show, he acknowledged that he’d book a bigger room for the next time he hits the road… whenever that might be.
Photo Credit: Fouad Jreige
With the backing of a keyboardist, guitarist, and drummer, he emerged onto the fog-filled stage from an oval-shaped portal to the subdued DMX sample from his single, “Lose My Mind.” The quartet of dancers that accompanied him, dubbed the Angels Girls, appeared at the fore of the stage as he played the background and breezed through records like “Cheers,” “For Certain,” and the tour’s namesake, “Sorry But I’m Outside.” But without exerting much command of the stage, the crowd ate from the palm of his hands. The Angel Girls get plenty of credit, though. They served as a personification of the muses that inspired his catalog of heartbreak and lust when he serenaded them.
Though the records off of his latest album brought him on tour, the bulk of his fans have been around for over a decade anxiously awaiting the records that catapulted him to this stage in his career. Party’s catalog from 2013 and 2017 secured him a cult-like following, so records from PartyNextDoor 1, including “Break From Toronto” and “Wus Good/Curious,” washed the crowd over with elation as much as his collaborations with Drake, whom he’s reportedly working with currently on a collaborative album. “Wednesday Night Interlude,” for example, served as a mid-show break for the band to shine, while P’s recorded vocals led a karaoke-like portion of the evening. But by the time he re-emerged after the IYRTITL cut, it was like he snapped into a comfort zone that found him gravitating even deeper toward the crowd’s energy.
Photo Credit: Fouad Jreige
The band was the MVP of the evening, amplifying the songs into their anthemic qualities from their original Soundcloud-ready forms, and providing smooth transitions through each song that didn’t allow much of a break and limited the amount of crowd interactions that PartyNextDoor had in the night. Songs like “Loyal” closed out with an electrifying solo and heavily distorted guitar riffs gave “Make It To The Morning” stadium rock-like qualities that shook through the theatre. But, as much as Party’s vocal prowess shone brighter, with or without auto-tune, across his set, the moments where backing tracks played out had mixed effects. In some cases, like “No Chill,” his raw vocals began to clash with the recording and the crowd. In others, it allowed him to dive into different pockets through ad-libs and harmonies that added more depth to the original record.
For day-one PartyNextDoor fans, the Sorry I’m Outside tour marks an appropriate celebration of his career to date and a catalog that’s had a distinct impact in R&B. Perhaps not a groundbreaking trek by any measure, it’s a refreshing one that sees one of the most mysterious figures in R&B finally step into the spotlight and celebrate a catalog that few of his R&B contemporaries could rival. His core fans were treated to several records that never saw the Billboard charts under his name, such as “Persian Rugs” or his reference track for “Work.” Meanwhile, hit records off of P4, Partymobile, and previous albums were given a facelift that matched the exuberant energy of a crowd who used his catalog as a gospel to summer flings and relationship woes.
This looks fun. Aaron Pierre and AnnaSophia Robb team up as unexpected allies in their fight to expose a small-town conspiracy in the upcoming Netflix film, “Rebel Ridge”.
The action packed trailer with a smart hook introduces Pierre, known for his role in “Genius: MLK/X”, as Terry Richmond, a man on a straightforward mission to post bail for his cousin. However, what starts as a simple task quickly spirals into a dangerous journey, forcing Terry to join forces with a court clerk, played by Robb, in a battle against corruption. The film also features Don Johnson in a key role.
Check out the official synopsis from Shadow and Act:
“Terry Richmond (Aaron Pierre) enters the town of Shelby Springs on a simple but urgent mission—to post bail for his cousin and save him from imminent danger. But when Terry’s life savings is unjustly seized by law enforcement, he’s forced to go head-to-head with local police chief Sandy Burnne (Don Johnson) and his combat-ready officers. Terry finds an unlikely ally in court clerk Summer McBride (AnnaSophia Robb), and the two become ensnared in a deep-rooted conspiracy within the remote township. As the stakes turn deadly, Terry must call upon his mysterious background to break the department’s hold on the community, bring justice to his own family—and protect Summer in the process.”
Get this “Rebel Ridge” is written and directed by Jeremy Saulnier, and the film also stars David Denman, Emory Cohen, Steve Zissis, Dana Lee, Zsané Jhé, and James Cromwell.
In an interview with Blavity’s Shadow and Act, Pierre discussed his enthusiasm for the project, calling it an “undeniable” opportunity. “The very first moment I met with Jeremy, the first moment I read the script, which I read within minutes of it being sent to me, and I finished it in maybe 90 minutes, it was undeniable for me,” he said. “The filmmaker is undeniable, the character was undeniable. The journey of the characters was undeniable, and the studio behind it was undeniable.”
What’s interesting is Pierre broke down how the role allowed him to explore a different side of his acting abilities, stepping away from his usual work in biopics:
“I think a considerable amount, if not the majority, of what I’ve done has been based on historical fact. And in some ways, this film, although it’s a fiction story, it does make a comment on the reality of a number of people’s existence and in regards to their engagements with police,” he explained. “But I think in regards to this, I think it’s arguably the first time that I’ve really gotten into my action bag and engaging in this high-velocity action, tumbling, falling, jumping, cycling, running…so I’m really excited, hopefully, for people to gift us with the opportunity to engage with them and hopefully entertain them.”
“Rebel Ridge” hits Netflix on September 6 and we can’t wait.
It felt like L.A. was about to explode into an R&B party when Chris Brown’s 11:11 tour hit the Crypto.com Arena on Tuesday, August 6. As the second-to-last stop on the tour, anticipation filled the air over what Chris Brown might have up his sleeves. For the last two months, social media has been filled with hype-worthy and viral moments from the tour, whether it’s the iconic meet-and-greet photos or some of the stunts he pulled on stage.
From the moment fans gathered inside the area, the energy was high. Breakthrough R&B artists Maeta and Muni Long warmed the crowd up as the opening acts. Following their performance, Chris Brown emerged and delivered a set that satisfied his fans, both old and new. With a setlist consisting of over 40 songs over two hours, Chris Brown certainly delivered on all fronts. He leaped into the classic hits that turned him into a star, as well as recent songs that we’ve had on consistent rotation.
Adam Pantozzi / Andrew D. Bernstein Associates Photography, Inc.
Around the 9 p.m. mark of the night, the lights dimmed and the atmosphere reached a fever pitch when the LED screen behind the stage began its countdown. As the final seconds ticked away, the arena was plunged into darkness. Then, a single, dramatic beam of light illuminated Chris Brown on a raised platform. As the platform descended, he opened with “Angel Numbers / Ten Toes.” Fire and sparks erupted around the stage, and cheers roared throughout the stadium. The audience was clearly captivated from the get-go and all eyes were on Chris to see what was next.
The concert was thoughtfully segmented into four thematic acts: Fire, Water, Air, and Earth. Each element was specifically crafted to highlight different aspects and songs of Brown’s catalog. This created a cohesive visual experience that left fans guessing which songs would appear in each act. The screen behind the stage projected stunning and immersive visuals that complemented the theme.
The first act, “Fire,” ignited the night with high-energy tracks and fiery visuals. With the crowd—mostly women—screaming their hearts out and backup dancers giving it their all, the energy could quite literally be described as explosive. During this set, he performed songs such as “Heat,” “Party,” “New Flame,” “Ayo,” “Summer Too Hot,” and more.
As the concert transitioned into the “Water” act, the energy shifted to something more fluid and moody. The visuals consisted of underwater scenes that contrasted with the fiery visuals of the previous act. He leaned into the more sultry records in his catalog during the “Water” act, including “Liquor,” “Privacy,” “Wrist,” “Wet The Bed,” “Take You Down,” and “Under The Influence.” During this part of the evening, he was suspended mid-air on a floating platform.
Chris and his dancers delivered tight choreography on the circular platform, impressing the audience with his highly sensual moves. In between these acts, DJ Fresh kept the crowd energized with a mix of party classics and some of Chris Brown’s deeper cuts, keeping the crowd moving from start to finish.
Accompanying the third act, “Air,” was atmospheric, ethereal visuals and records like “Press Me,” “She Ain’t You,” “No Air,” and “Don’t Judge Me.” This part of the show saw Breezy continuing to hover over the crowd as he was suspended mid-air. Though the majority of the show saw the crowd dancing along to his infectious hits, this set offered the audience a chance to catch their breath before the finale.
Chris concluded with the “Earth” act, which grounded the night with a return to more of his upbeat tracks. For this section, where the visuals became more earth and organic, he reserved some of his biggest hits to date. Songs like “No Guidance,” “Call Me Every Day,” “Sensational,” and “Loyal,” lit the arena up before he concluded with “Grass Ain’t Greener.” For roughly two hours, Chris Brown worked like a machine, maintaining high energy levels without missing a single beat of choreography.
The final act succinctly captured the evolution of his career, paying homage to his roots and celebrating his longevity with recent hits. During the final moments on stage, he took a bow and brought his two daughters, Royalty and Lovely, on stage. The 11:11 tour’s LA stop was undoubtedly a testament to Brown’s artistry, longevity, charisma, and sheer talent. For those fortunate enough to attend, it was a night to remember.
Kanye West’s art is impossible to engage with solely at face value, something that his collaborative album series with Ty Dolla $ign, VULTURES, proves in a pretty ugly way. Their latest release, VULTURES 2, is drawing conversation online for reasons related only tangentially to the music it contains. Uncleared samples, verses allegedly generated by artificial intelligence (Ye-I?), unfulfilled release dates followed by surprise launches, and absolutely abysmal mixing on this LP are taking precedence over any considerations of songwriting, creativity, performance, or any other elements you would look for in a new body of work. Of course, that’s not counting all the politically and socially abhorrent narratives that Ty and Ye (mostly and especially Ye) have been involved in or propagated since… well, we’ll let you pick your starting point. After all, even TLOP’s “new Kanye” is old Kanye by today’s standards.
However, what makes VULTURES 2 such a lackluster and disappointing release, even compared to the already dull and unsatisfying first installment, is a shocking lack of effort, originality, and sense of purpose. Kanye West and Ty Dolla $ign released half-baked demo editions of these songs on this album, and regardless of whether the ideas behind these mixes are satisfying or not, it contributes to this project feeling like a scam tracklist from a random YouTube page, not the result of deliberate studio time after multiple delays already. If you scrape through quietly mixed verses, muddy rhythmic tones, mid-performance audio shifts, and head-scratching panning, there is certainly some quality throughout this tracklist and even some thematic depth. Still, not only is this achievement scant, but it feels damningly derivative from past (and recent) work.
To start with VULTURES 2‘s highs, there are some engaging, vivid, and appropriately grand excursions into the dramatic, raw, and nocturnal hip-hop/R&B that Kanye West and Ty Dolla $ign have championed throughout their collaborations. The big highlight is “SLIDE,” with its THX synths opening the track in an immediate and captivating fashion. The hectic and enveloping percussion makes for one of the most uniquely groovy and enjoyable bounces on the album. It also succeeds at achieving this quality standard in some softer moments on occasion, such as cohesive electronic embellishments to a vocal sample on “FOREVER.” Producers like London on da Track, Wheezy, Fred again.., James Blake, BoogzDaBeast, AyoAA, and The Legendary Traxster make up a massive list of co-producers, but this doesn’t translate into ambitious soundscapes.
Rather, the fact that Kanye West is actually absent from many beats here speaks to how thrown-together and un-curated many of these production ideas feel. For example, nothing comes of a rock sample on “ISABELLA. Cuts like “PROMOTION” and “DEAD” contain some of the most generic synth tones and drum sounds you’ll hear all year. Other Ye albums definitely felt like too many chefs were overcooking their meals in the kitchen, but this time around, we’re not comparing it to last year’s album – we’re comparing it to what we just got in February. Through that lens, there’s even less of a reason to act impressed by Donda and Jesus Is King retreads. Speaking of repetition, “FRIED” is an embarrassing attempt to copy the appeal behind “CARNIVAL” with even worse lyrics, and “TIME MOVING SLOW” sounds like an alternate demo version to the already meager “Flowers” off Donda 2.
Kanye West & Ty Dolla $ign’s Pessimistic Performances
Just how VULTURES2‘s most generic missteps overshadow its sonic ambition, Kanye West and Ty Dolla $ign’s thematic goals on the album fall victim to some of their most poorly written hedonistic material about money, women, the rap game, and passing partners to their friends like a piece of meat. Similar to VULTURES 1, Ty is a more consistent and skilled performer in this second round thanks to his melodic dominance and despite Ye taking even more of a center stage. The first installment, however, Ty held higher and more dependable peaks far more consistently. The Chicago rapper has some passable verses on here like the first half of “530” and chemistry-filled trade-offs between him, Ty, and Lil Baby on “FOREVER ROLLING,” where he actually tries to engage with wordplay and provides a clear narrative. But alas, his hollow pen is mostly his least inspired and most irrelevant yet.
While guests like Lil Durk and Lil Wayne try to sharpen things up and follow Kanye West and Ty Dolla $ign’s lead, their contributions don’t really amount to much beyond a short but solid reprieve from the monotony. Playboi Carti and Don Toliver go a bit further, providing much-needed vocal dynamism to the eerie “FIELD TRIP.” Yet no one stands out the way that guests did on albums like Donda because of how rickety the foundations for their appearances are. One definite exception is “RIVER,” with progressive production and a charismatic Young Thug verse that (if only for its inclusion) speaks to Kanye’s themes of freedom and justice on the track. Ye’s passionate vocal performance and lyricism are a rare highlight here, and Ty Dolla $ign leads the outro with heavenly vocals.
Sadly, despite occasional glimpses of loving care, VULTURES 2‘s poorly executed formulas don’t earn the benefit of the doubt sequel projects usually get. It takes two steps back from VULTURES 1, which at least had novelty and controversy at its side. Now, it feels like an easy paycheck that doesn’t entice you with its bravado: it just expects you to punch in and praise it for being the same album Kanye West’s made for half a decade. The filler is also staggering, as “HUSBAND” is an unnecessary isolation of the second half of “LIFESTYLE” and “SKY CITY” is a Yandhi-era leak whose official release absolutely guts its previous structure. At least “BOMB” provides a glimmer of West family wholesomeness, even if the discussions of family contrast lazily and messily with disgustingly indulgent misogyny.
That’s perhaps the most salient failure of VULTURES 2: it’s all of Kanye West’s expected vices with his least compelling attempts at contrasting them with his values. The album’s shoddy release, perhaps the shoddiest in Ye’s entire catalog, represents this unwell egomania. As for the moments on here that do have something to say, he and Ty Dolla $ign lack originality, notable production, and noteworthy performances. The last exception to mention is the final verse on “MY SOUL,” delivered by Ty Dolla $ign’s incarcerated brother, which most overtly embodies the album’s “theme”: freedom. But they only focus for a blink of an eye. Elsewhere, it’s a Jersey-house-trap-moody-synth corpse whose scandals, successes, and self-satisfactions not only turn the duo’s few meaningful ideas into ghosts but place shockingly little importance on the album experience that Ye was once so revered for. If they don’t care about their music, why should we?
Ice Spice is a unique victim of social media, one whose rise almost felt like someone was playing an unfunny joke on hip-hop. Before her break into the mainstream, Ice had five songs to her name. She built buzz as a New York drill artist whose soft-spoken delivery contrasted with the rest of that scene. “No Clarity,” a November 2021 track sampling Zedd’s “Clarity,” went semi-viral, and the video briefly became a meme. A few months later, On The Radar invited her to freestyle on their show. After reaching stardom, the video became one of the most viewed on their YouTube channel.
Ice released her breakout song “Munch (Feelin’ U)” in August 2022. The track trended on TikTok for the rest of the year and introduced new slang into public usage. Since “Munch,” Ice has had the success of an entire career in less than two years. She received a co-sign from Drake after one popular song. In early 2023, Nicki Minaj endorsed her. Their collaboration “Barbie World” appeared on the Barbie soundtrack and received a Grammy nomination for Best Rap Song. TheNew York Times dubbed her “Rap’s New Princess” after an EP. She collaborated with PinkPantheress on “Boy’s A Liar, Pt. 2,” a track that became one of the biggest of the year. She even became friends with Taylor Swift.
Ice Spice Fails To Show Growth As An Artist On Y2K!
All of this happened because much of the public ignored her most fatal flaw: Ice Spice is not a very good rapper. She lacks any substance as a lyricist. The beats she raps on, produced almost exclusively by former college classmate and closest collaborator RiotUSA, are virtually indistinguishable from one another. Because social media can produce a new celebrity overnight, Ice went from uploading tracks to SoundCloud to attending the Super Bowl with pop culture royalty faster than you can say “grah.” But, because social media has also made music the most accessible it’s ever been, Ice had no time to develop her sound meaningfully. Her debut album makes this abundantly clear.
Y2K! is the culmination of the last three years for Ice Spice. Itis the punchline to a joke that’s gone far too long. In her Rolling Stone cover story, she said that one of her goals was to prove that she can actually rap. Instead, her most glaring weaknesses take center stage, making for one of the most vapid, repetitive releases of 2024.
Y2K! opens with “Phat Butt,” which is the most interesting performance Ice puts forth on this album. She tries out a new flow, clearly taking inspiration from Nicki Minaj. The beat is also one that a younger Minaj would’ve flexed over. Not everything on this song lands. “Jamaican plug named Batman, pack smellin’ like trash cans / Let him beat it from the back and he eat it up like Pac-Man,” is especially clumsy. Even with that, this song is one of the rare occasions where anything on the album approaches “good.”
“Oh Shhh…” is the next track, featuring Travis Scott. Scott sounds like he has no desire to be there. Ice raps about twerking on a rival’s baby daddy out of spite. She rhymes “clappers” with “slappers,” which is not the only time she uses that scheme on the album. “B*tch I’m Packin” is another dud. She ditches her naturally subdued vocals for a raspy not-quite-whisper that sounds like it strains her to do. It sounds equally strenuous when she gets loud on “Gimmie A Light,” another song about how much money she has, her physical features, and how she’ll steal someone’s man simply because she’s better than who they’re with now. Ice must’ve written this album with a checklist next to her to make sure that she hit the same few topics.
On the topic of stealing a man, “Did It First,” the result of Ice Spice’s and Central Cee’s months-long fake relationship stunt, is not bad. It’s less than two minutes long, much to the song’s benefit. Their verses are both about infidelity and neither of them diverts from the subject. Ice raps about cheating to get revenge on a man who did it to her. Cench is more concerned about not getting caught in the act. The beat has a Clams Casino-meets-New-York-drill feel, making it one of the more unique moments on Y2K!
Unfortunately, for every moment on Y2K! that offers even a sliver of potential, there are even more moments that show there is no reason to ever expect anything more from her—the biggest example of this being the shocking amount of bars about poop on this album. Ice Spice is not the first to have lines about poop in her discography. However, she might be the worst offender.
On “BB Belt” and “Gimmie A Light,” (a track with a distracting sample of Sean Paul’s “Gimme the Light”) she calls herself “Miss Poopie.” On “Oh Shhh…” she says she’s “standin’ on sh*t like a floor mat.” “Think U The Sh*t (Fart),” the lead single and response to some shade from Latto, opens with “think you the sh*t, b*tch? You not even the fart.” Every rapper is entitled to one poop bar since rappers naturally feel like they’re “the sh*t.” But, after the fifth one, it’s time to find new material.
Overall, Y2K! is not an inspiring debut album. It does not prove that Ice Spice is a capable rapper, nor does it prove that she is here to stay, despite the accolades she’s already received. At only 23 minutes, it feels double that runtime, made worse because she just doesn’t have anything to say. Ice became famous before becoming a worthwhile artist, and she has yet to show any growth since becoming famous. Perhaps things would be different if she had time to incubate before being thrust into the spotlight, the way her predecessors did before the internet made music discovery instantaneous. Sadly, we’ll never know.
In November 2011, co-star of NBC’s Community Donald Glover sat down to interview his alter ego, fledgling rapper Childish Gambino in a segment for Rolling Stone. Gambino was just over a week away from releasing his debut album, Camp. The interview goes well until Glover asks Gambino “why he raps like sh*t.” Gambino responds by saying that his voice is annoying, but also that he’s read comparisons of himself to Lil Wayne and Kanye West. On its face, it sounds like Gambino is poking fun at himself. To an extent, he is. But, those comparisons also lend themselves to a greater idea: Donald Glover thinks very highly of himself. More accurately, Donald Glover thinks very highly of his artistry.
It’s easy to look back on something from 2011 and say it didn’t age well through a 2024 lens. Much of Camp aged poorly as soon as it hit iTunes. The charm of his earlier work, namely 2010’s Culdesac, was gone, and in its place was “corny.” The punchlines were clunky. The bars about women became bars about Asian women that were misguided at best and racist at worst. The albumwent over even worse than a wet fart, a failure on all fronts. Even when Gambino released Because The Internet in 2013, a surprisingly introspective follow-up to his disastrous debut, he couldn’t shake two ways that people viewed him. One, that he was the guy from Community trying to start a serious music career. And, even more damning, that he was the guy who made that album.
Donald Glover spent the rest of the 2010s trying to convince people that he was a capital-A Artist. It worked. He released “Awaken, My Love!” in 2016, shaking the stigma that came with being Childish Gambino. Glover also reworked his public persona. Gone were the eye-roll-inducing punchlines. In was a man who believed his own hype. He shrouded himself in mystery and released an honest-to-God commercial funk album in the 2010s. In 2018, he released “This Is America,” the controversial multi-platinum single. It became his first song to reach #1 on the Billboard Hot 100. Somehow, after years of ridicule, Glover had the last laugh.
“Awaken, My Love!” was a sharp turn from hip-hop that led to 3.15.20 nearly four years later. 3.15.20 was an ambitious surprise release. Gambino experimented greatly and pushed hip-hop to its limit. And now, on Bando Stone And The New World, Donald Glover’s last album as Childish Gambino and the soundtrack to his upcoming film of the same name, he nearly fully realizes his musical vision. It’s a sprawling work that often threatens to buckle under the weight of Gambino’s ego. The back half nearly does. The early quality gives way to tepid pop-punk and tepid pop-pop when he begins to make his exit. Despite that, the highs are undeniable. Pop, R&B, and trap sensibilities produced primarily by Glover himself, make up much of Bando Stone. It is an eclectic soundscape that results in some of the most dynamic music of his career.
Childish Gambino Is A Dynamic Artist On Bando Stone
The dynamism is apparent early. “Lithonia,” the second track on the album, is a pop-rock ballad that tells the story of Cody LaRae, Bando Stone’s main character, learning that the world “doesn’t give a f*ck” about him. The next two tracks, “Survive” and “Steps Beach,” lean more towards R&B. “Steps Beach” in particular sounds a lot like the type of atmospheric tracks that Frank Ocean specializes in. “In The Night,” with Jorja Smith and Amaarae, is a catchy, lustful track with Smith delivering an especially great vocal performance. She sounds like someone Gambino should have collaborated with a lot earlier.
The album’s mission statement arrives about halfway through, on the song “Yoshinoya.” Gambino raps in the triplet flow in the first half over a beat reminiscent of Migos’ “Deadz.” Appropriately, he pays tribute to the city that raised him, Atlanta, by rapping in the most popular to come from that scene. One that has often been falsely attributed to a certain Canadian child actor-turned-pop music dynasty. The same dynasty whom he may have sneak dissed later in the track. “This is a code red for old heads / who never liked my short shorts and Pro-KEDs,” he raps to open the second verse. After hip-hop rejected him early, he’s coming back around to show off a bit, mainly because he has a lot more to show off now. The Amaarae and Flo Milli-assisted “Talk My Sh*t” is a similarly flex-heavy song. Gambino raps over a bass-heavy trap beat, showing that he’s added new wrinkles to his game over the years.
The album begins to lose steam by the end, but Gambino does stick the landing. “We Are God” is a level of self-indulgence on par with some of the worst that Yeezus has to offer. The pop-punk of “Running Around” (featuring Fousheé) evokes the same empty feeling one gets from listening to MGK’s attempts at the sound. The Khruangbin-featuring “Happy Survival” is an instrumental that, while pleasant, feels out of place after the preceding fifteen tracks. Luckily, “Dadvocate” is a sweet, albeit brief, meditation on fatherhood and the idea of being a man. The album closes with “A Place Where Love Goes,” a track co-produced by pop titan Max Martin, that deftly blends hip-hop and electronic music. It may even find its way into some DJ mixes in the near future.
Bando Stone And The New World is a good album. It’s hard to call it great, let alone one of the best albums of the year, considering its uneven ending. But, the scope of its ambition makes it a worthwhile listen and a very worthy farewell to the Childish Gambino moniker. Donald Glover’s musical growth has been painstakingly documented at every turn. Now, he’s actually good enough to earn the praise he believes he should’ve received all those years ago. Regardless of what’s next for Glover musically, he has earned enough cache for people to want to listen to what he has to say. Until then, listen to this one.
Like “Head Honcho” with Shady Records signee Ez Mil posits, “canceled” isn’t the word to describe Eminem. That concept drives The Death Of Slim Shady (Coup De Grâce) and is as painfully ancient and obvious as it is subversive. While Marshall Mathers has arguably tried to “kill” Slim Shady since 1999, this new project is unique in how explicitly he connects his biggest demons while showcasing his best long-form quality control in over a decade.
However, that quality control is still bizarre since Eminem throws stuff at the wall and doesn’t focus much thematically on most individual tracks, an odd trait for a “concept album.” It’s a missed opportunity for breakdowns of the rapper’s personas and beliefs. Still, the things that make this album great and irate are in Em’s whole discography to varying degrees… all that changes is the specific names, like Diddy and Megan Thee Stallion mentions on The Death Of Slim Shady. Slim Shady’s “death” here is more of an exorcism of his immortality and is generally an entrancing spell.
As for Eminem, his own “immortality” in hip-hop has his technically gifted pen to thank, not his other half. Some Dr. Dre production all over The Death Of Slim Shady (plus Dem Jointz, Em himself, and more) certainly helps, too. But his colorful and zany artistry always stretches thin with vivid, albeit cartoonish approaches. Comically crude, wildly impressive, and deep moments emerge, such as the Amber Heard bar on “Lucifer,” the rhyme schemes on “Antichrist,” and recollections of Em’s daughter Hailie playing guitar on “Somebody Save Me.” Then, it’s stale shock value, eye-roll wordplay, and melodrama: animal cruelty on “Evil” that went nowhere, that terrible sock puppet bar on “Bad One,” and forcedly aggressive cadences on the otherwise soft “Temporary.”
Instrumentally, things are much more consistently enjoyable than past efforts like Revival or Kamikaze. The peppy and gritty beat on “Renaissance” and the percussive speed-up on “Habits” are particular highlights. There’s an orchestral sense of drama throughout these beats with fitting drum tones, and progressive embellishments make the instrumentals more dynamic. Alas, lyrically and musically, The Death Of Slim Shady‘s repetition is its kryptonite. Tracks like “Houdini,” “Brand New Dance,” and the family tribute tracks from the perspective of a dying or deceased Marshall are not-so-subtle retreads of “Without Me,” “Just Lose It,” and “When I’m Gone,” respectively.
There are also way too many Caitlyn Jenner, little people, and Gen Z jokes peppered all throughout the album’s first leg. Eminem — or Slim Shady, rather — tries so hard to offend that it comes off just as performative as how he characterizes the “cancelation” he rallies against. Regardless of how much anyone tries to reiterate that “that’s the point,” this causes even more whiplash between his typical toilet humor and linguistic creativity. Still, The Death Of Slim Shady‘s saving grace, “Guilty Conscience 2,” contextualizes these aspects compellingly and paints Slim Shady as an addict to controversy due to his upbringing. With his “death” at the end of the song, subsequent tracks suggest what Marshall actually has smoke for, whether Candace Owens’ hypocrisy or the state of hip-hop through tracks like “Tobey.”
That’s not to say that Slim Shady is the problem with The Death Of Slim Shady: “Fuel” is still the best song on this album thanks to two killer verses from Eminem and JID. But these songs present really strange vocal mixing choices ( i.e. “Road Rage”) that don’t clarify when one personality is talking and when the other retorts. To be fair, it’s arguably Em’s most ambitious full-length since The Eminem Show, but only one or two moments here really tackle killing Slim rather than parading him around just to suppress him later. Sadly, it doesn’t fully translate as growth or evolution.
Above all, The Death Of Slim Shady champions all of our assumptions about Eminem and his alter-ego as explicitly as possible. Very few new topics enter, but a heightened musical consistency makes these repetitions well-flowing and easier to appreciate. His addictions to substances and controversy have never been more intertwined, and neither have these struggles so directly explained his shortcomings as a family man. Yet Mr. Mathers is always passionately committed to his loved ones. In many ways, this “coup de grâce” (in other words, a merciful kill shot) feels like the album that he has tried to make for the past fifteen or so years.
Even with this album’s concept of beating a dead horse back to life, we doubt Eminem and Slim Shady are separate. While blasting “cancelations” of either Colin Kaepernick or Dave Chappelle, Em/Slim’s biggest issue seems to be how people always need to apologize and criticize rather than tolerate opposing views. That’s been a mission statement of his throughout his whole career, and it’s ironic that he seemingly can’t tolerate that it’s a nauseating one. Then again, isn’t this the most “Eminem” album perhaps ever, with all his best and worst feats and flaws delivered with a middle finger and a wink? Maybe Slim’s addictive controversies are what died in a blaze of glory. But that combative fire will always fuel Marshall Mathers.
At the BET Awards last week, Killer Mike delivered a poignant speech as he accepted the award for Best Rap Album – another triumphant award show night for the Atlanta rapper in 2024. “Technically, I was not supposed to be here,” Killer Mike said about his infamous arrest outside the Grammy Awards earlier this year. That same night, he took home three Grammy Awards for Michael. “I was put in handcuffs, and I was marched out of this building. But I wanna tell you, look at God because I’m back, baby. I’m back.”
His faith in God is at the forefront of his efforts, naturally sprinkling references to his faith across his catalog, whether alongside El-P as Run The Jewels or in his solo catalog. His latest album Michael is an autobiographical body of work that explores his Atlanta roots, both through vigorous levels of rhyming over soulful backdrops and a deep dive into how God brought him through hardships to glory. These Grammy wins and accolades symbolize how he overcame trials and tribulations throughout his life and still surpassed the circumstances that could’ve led him astray. But this message becomes more urgent during his live shows. Accompanied by the Mighty Revival and DJ Trackstar, Killer Mike brought the good folks of Quebec City to a church sermon (albeit, with a bit more cussing and weed smoke).
As part of his summer 2024 tour dates, he made his way through several Canadian cities in support of his excellent 2023 album, Michael. His performance at Festival D’Été Quebec on Friday night (July 6th) felt like another victory lap in a storied career that has seen him reach incredible heights without compromising his artistic integrity. His stage show brought a distinctly Southern feel that embodied his resilience, tenacity, and faith in a Higher Power. The jewels he dropped weren’t those of solely a rapper but one who delivers his words with the conviction of a pastor.
He admittedly tried to stray from religious reference, though stories about Solomon prefaced the emotionally charged “MAMA” and his mini-speeches in between songs felt like notes of inspiration for those who’ve also felt like their back were against the wall. Still, this was a rap show after all, and songs like “RUN” and “DOWN BY LAW” got the energy right for the remainder of the evening. But, at the core of Killer Mike’s performance was bringing Atlanta to the Canadians. The album cuts got the audience excited, for sure, but hard-hitting bangers including Big Boi’s “Kill Jill” and Bone Crusher’s “Never Scared,” alongside cuts from Run The Jewels and R.A.P Music, kept the crowd’s vibrancy at an all-time high.
Following such a triumphant year so far – even with a few mishaps – Killer Mike’s performance felt like a victory lap for an artist who never played the industry game yet exceeded every expectation set against him. But with a breath of gratitude to his tone, his recent feats and festival performances are a testament to his grind and reaping the fruits of his labor.
The Final Lap Tour Makes Its Way To Quebec City
via Etienne Dionne/FEQ
The greatest measure of an artist’s hit-making prowess is how it translates to crowds outside of their prime demographic, specifically those that don’t even really speak the same language. At le Festival D’Été Quebec in Quebec City (a primarily non-English city), 50 Cent served up a platter of bangers for an hour-and-a-half that affirms his presence as one of hip-hop’s greatest showmen. Following 50 Cent’s epic Final Lap tour in 2023, which saw him celebrate the 20th anniversary of Get Rich Or Die Tryin’, he’s clearly in high demand for the summer festival circuit across the world. As we covered in 2023, the Final Lap tour was undoubtedly the tour of the summer, one that brought hip-hop fans, both old and new together, to witness one of rap’s greats perform his biggest hits; timeless classics that have become a staple in hip-hop and pop catalogs.
50 Cent initially stated the Final Lap tour would be his final haul on the road before focusing on his television and film productions. But, after surpassing over $100M in ticket sales last year (making it one of the highest-grossing hip-hop tours of all time), there are plenty of markets that ha highly sought after in plenty of markets that he didn’t hit last year. Joined by his hypemen, Tony Yayo and Uncle Murda, the G-Unit trifecta delivered a more toned-down version of what they brought across North America last year, likely due to the venue change. Festivals provide ample room for pyrotechnics but the setup didn’t necessarily welcome some of the more theatrical elements, such as the wild t-shirt change that went viral last year and even the complex transitions throughout the set (i.e. popping out from under the stage).
The People Love 50
via Etienne Dionne/FEQ
Nonetheless, his performance in Quebec City is a microcosm of 50 Cent’s global appeal. Though the audience might not be entirely tuned into Power (“Big Rich Town” certainly wasn’t even close to being the highlight of the evening), the epic run as a solo artist and with G-Unit throughout the 2000s formed the baseline of his set that transcended language barriers, further emphasizing the grip he’s had on the world since the release of Get Rich Or Die Tryin’.
“I’m On Some Sh*t” may have felt like a bit of a lackluster opener for this audience, especially since the majority seemed unfamiliar with his mixtape run. But, you could imagine that records like “What Up Gangsta,” “Just A Lil Bit,” and “If I Can’t” had the nearly 80,000+ in attendance singing along word-for-word. But once he started going into the real hit records, from his collaborations with The Game to songs like “Candy Shop,” “In Da Club,” and other definitive songs of the mid-2000s, it further affirmed Fif as one of the culture’s pivotal figure who contributed to hip-hop’s global appeal, from his days bullying his peers on his early mixtapes to outshining each of them once he formally entered the game.
