Review Summary: Megan Thee Stallion’s debut album is a double edged sword that seems like a sell-out at first, but there are highlights.
Megan Thee Stallion returns to the scene with her debut album, Good News. Her first EP, Suga had some bright spots, but at the end of the day it was hindered by Megan choosing generic instrumentals, and using boring effects and reverb on her vocals. Her next project Fever was a great mixtape that showed her improvement in almost every way. This album comes pretty close to the quality of Fever. Quite unfortunately, this record suffers from long album syndrome (clocking in at 17 songs), and feels pretty bloated in the middle. That’s not to say that there aren’t highlights here, though.
It’s quite unfortunate that this is so overstuffed, because like I’ve said before Megan has regained what made her stand out from other female rappers with her last tape. Minor problems come in some autotuned hooks, they either just sound awkward, or are from an artist who Megan doesn’t have any chemistry with. However, these moments don’t compare to the issues that hindered Suga so much. What’s important here is Megan herself, and she’s back on her game and confident and bold as ever. Sure, her lyrical ability isn’t the greatest but it’s really intriguing how overly raunchy her lyrics can be at times. She doesn’t have too many mind blowing similes or double entendres, but she does present what she raps about in a charming way. The personality and energy she brings really isn’t matched by many others in the game currently. The instrumentals have improved like I said, samples are used and most are punchy and energetic; The in-your-face lyrics definitely help them stand out.
Even with what I said before (with the lack of chemistry), there are some really great features from Young Thug, Dababy, to the duo on Go Crazy to even Beyoncé; they all drop fun verses and choruses that help Megan diversify her sound. The biggest problem with this album really comes from the content between these highlights. Sometimes, you get a lazy instrumental like Sugar Baby, or a feature that sounds out of place like Popcaan, or even an awful hook from Megan, namely on Body. There’s even the occasional sellout moment, like the attempt at making a dancehall hit on Intercourse. Despite these inconsistencies, Megan has the energy and charm to carry this album above being just average. You can make an objection that some of these songs were just made for TikTok hits, (with the repetitive hooks that certainly will be on your homepage) but quick PSA, just because something was made for a commercial audience certainly doesn’t mean it’s bad at all. Neither does the subject matter this consists of; if you don’t want to hear tales of sex and money then perhaps this isn’t the album for you. It’s all about how (in this case) Megan presents these topics, which in my opinion she does pretty well, despite the obvious filler. I do see the potential in her for non-club hits, the opener “Shots Fired” is honestly her best song yet. It’s her response to the controversy between her and R&B figure Tory Lanez. The instrumental has a Notorious B.I.G sample and her flow is on point, setting an imposing mood for the album. It’s undoubtedly a great response to him.
For the rest of the album, I’m going to assume that her label and people around her just want her to rap about sex, which is quite disappointing because she’s proved that she’s more than just a sex icon; it’s a shame that everyone just decided to cash in on her popularity, but that’s what makes this mainstream accessible. When I mentioned that this album was a double edged sword, I did mean it and it does sum up my thoughts on this debut. Her personality does bring advantages but at the same time it can hinder her; at times she sounds like she’s recycling her energy. The bangers on this usually have to be backed by a strong and fun flow, along with her provocative bars to really reach their full potential. Most of the songs which I did have problems with don’t have the problem of being boring, but the beats on those songs and the lazy choruses is what hindered it. (For the fifth time, Body comes to mind). This trap project can’t be described as generic, but even though it is different doesn’t mean that it’s all good.
Altogether, the album has its flaws but there will be some songs that you desperately want to act up to, and most of them tend to appear at the end. It’s a club album, if you cut it apart critically, it won’t be the most consistent album.
