It’s been almost seven months since critically acclaimed hip-hop superstar Kendrick Lamar released “Not Like Us”, his concluding statement towards the equally prolific rapstar Drake in a rap beef that created some of the biggest buzz in the musical landscape this year. Even after all this time, the feud still feels fresh in many people’s minds due to how vicious the attacks and accusations were on both sides, culminating in the one-two punch of “meet the grahams” and “Not Like Us”. Though this rivalry dates as far back as the earliest conversation of the “Big 3” players in contemporary rap (the third position belonging to southern hip-hop heavyweight, J. Cole), these two tracks from Kendrick proved to be the most explosive, shocking, and replayed hits from the entire debacle. While “meet the grahams” was a chillingly revelatory assault on Drake’s public persona that addressed his individual family members with the rapstar’s darkest, most personal secrets, “Not Like Us” was a victory lap of a track that was simultaneously catchy and hilariously brutal in ousting Drake and his cohorts from his record label OVO.
While Drake may have retained his resources and a tight hold on the world of hip-hop, his clash with Lamar left a scar on his reputation that will undoubtedly follow him for years to come. Not only was this feud a grand moment of humiliation and devastation on Drake’s end, it highlighted Kendrick’s versatility, intellect, and talent, cementing him as the most critically lauded rapper of this generation. At this point, he could have sat back, revelled in his well-earned victory and watched as the music world endlessly replayed his tracks that were some of the biggest hits of this year. So imagine everyone’s surprise when Lamar released his latest record GNX on November 22.
Despite being one of the largest names in hip-hop right now, the one thing Kendrick Lamar is assuredly NOT is predictable. He’s calculated in his affronts to his rivals and pointed in his lyricism all while making songs that are both representative of his unique voice in rap and so irresistibly memorable that they dominate charts upon release. With the battle between Drake still fresh in the minds of many listeners, audiences were teeming with anticipation as to what Lamar would address in his newest batch of songs. Would GNX be a continuation of the already destructive offensive on Drake, or would it take the form of an introspective meditation on the after effect of the feud and how it has altered Lamar’s personal life? Turns out, it’s both,as well as a great epilogue to a game-changing year.
Kendrick’s last release in 2022, Mr. Morale and The Big Steppers, was noted for being one of his most personal releases in a discography acclaimed for its emotional vulnerability. While GNX is not as much of an exercise in humility, it shows Lamar as a man caught between love and hate, war and peace, savior and sinner and, most relevant to this project, role model and outsider. He’s a shining example to many rising artists (including those featured on GNX) and a rapper who feels increasingly isolated from his colleagues as a result of the fallout from his feud. But to say he is without anyone in his corner would be mistaken, he has no shortage of collaborators and fans who are rallied behind him in taking all comers.
Those who were expecting a lavish and experimental fusion of jazz and hip-hop akin to Mr. Morale and The Big Steppers and To Pimp A Butterfly might be surprised to hear a sound more in line with singles like “Not Like Us” and “Euphoria”. This is by no means a downside to the album, as the production is as tight as ever and the beats have such impact that they beg to be replayed over and over. When hype producer DJ Mustard isn’t working his usual magic making instant hits, the reigns of production were handed over to Sounwave, hitmaker Jack Antonoff, Sean Momberger and saxophonist Kamasi Washington. Though Kendrick employs a few recognizable names such as SZA and Roddy Ricch, the feature list is filled mostly with fresh faces eager to prove their worth as MCs on Kendrick’s first big release since his departure from longtime record labels Top Dawg Entertainment and Aftermath Entertainment. For a talent like Kendrick, this parting has not weakened his access to resources, but rather emboldened him in his quest for independence in an industry of snakes and fakes.
The record starts off with “wacced out murals”, introduced with Spanish lyrics sung beautifully by Deyra Barerra, establishing a spanish sound that returns for a few of the tracks to follow. Amidst a dramatic string section and hard hitting percussion, Kendrick dishes out his ire towards those he once looked up to and shows himself as once again hungry for answers. Many references are made to his spat with Drake on this track and throughout the record, but he refrains from ever specifically calling him out by1ame (Lines like “Don’t acknowledge me, then maybe we can say it’s fair / Take it to the internet and I’ma take it there” and “…from my city couldn’t entertain old boy / Promisin’ bank transactions and even bitcoin” remind listeners of Drake’s desperation in digging up dirt on Kendrick)and extends his issues with the rapstar towards many other hip-hop icons who seem content to scoff and laugh by the sidelines. In a time where many of these stars are currently under scrutiny from the law and listeners over their associations with certain figures, Kendrick addresses this hypocrisy with the seriousness it deserves and in a manner that is as eloquent and direct. From Lil Wayne to Snoop Dogg to those left purposefully censored, he does not shy away from his disappointment and confusion in those he called friends and idols with bars like, “Used to bump Tha Carter III, I held my Rollie chain proud / Irony, I think my hard work let Lil Wayne down” and “Snoop posted ‘Taylor Made,’ I prayed it was the edibles / I couldn’t believe it, it was only right for me to let it go.”
After this cold opening track, we are given one of the many bangers for the album titled “squabble up”, a track that was teased in the beginning of the music video for “Not Like Us”. Over this beat, Kendrick reminds listeners that he is ready for conflict if need be and is confident in his proclamation as a heavy hitter in the hip-hop world. The production of the track as well as Kendrick’s flow all harken back to the energy of the summer single, complete with call-and-response sections and booming bass that go well with the playful yet aggressive nature of the lyrics. The following song “luther” featuring SZA is a more laid back tune with swirling strings and beautiful vocal harmonies from both Lamar and SZA over a sample of Cheryl Lynn’s “If This World Were Mine”. This pairing produced beautiful results before that highlight their vocal chemistry and individual talents (i.e. SZA’s Doves In The Wind), and this track might be one of my favorites to ever come from this dynamic duo. It’s a sweet and earnest song that details one person’s devotion to another in ways that these two demonstrate beautifully.
Following this, “man in the garden” strips back to a spacy, minimal beat that builds in intensity of both Lamar’s lyrics and delivery as well as instrumentation. All the while, Kendrick proclaims all the reasons and actions that have garnered him his status as the “greatest of all time” in hip-hop. It’s boastful yet truthful and reflective in its assertions, looking back on his attitudes towards his enemies and his attempts at protecting and preparing his family for the future opposition that is to come. The drama in this track is potent and grandiose yet deserving considering the past few years of his life. This makes way for the fifth track “hey now” featuring newcomer Dody6, which contains a murky and menacing beat over which both rappers detail their struggles in the face of opposition in the rap industry, and how they’ve managed to overcome these obstacles with their take no prisoners approach. While it feels minor in comparison to what comes before and after it, Kendrick’s flow still has a lot of fun to it and Dody6’s verse adds nicely to the cold, threatening feeling of the track, even if his pen game pales when placed side by side with Kendrick.
Marking the halfway point of the album, “reincarnated” is another respectful homage to the legacy of West Coast hip-hop that has influenced much of Lamar’s work. If the sampling of a classic Tupac track didn’t make this evident enough, the cadence and delivery reminiscent of the late LA icon most certainly does. Perhaps the most spiritual song of the tracklist, the lyrics describe what Kendrick believes to be his past lives before his current reincarnation, with the first verse dedicated to the life of John Lee Hooker and the second verse dedicated to that of Billie Holiday. The musicians lived lives that were infamously fraught with material excess in the case of the former and drug abuse and sex in the case of the latter; with his new life, Kendrick seeks to learn from these struggles in his past lives and goes back and forth with a “father” that is both similar to his actual father and a wisdom indicative of a higher power. It’s a powerful track that ends in his commitment to peace and love for those he wishes to heal through his music, making for this album’s most personal moment.
Kicking off the second half of the record, “tv off” featuring Lefty Gunplay on the outro is another banger similar to “squabble up”, with production courtesy of DJ Mustard. Kendrick’s comparisons of his own legacy to that of activists like Gil Scott Heron further illustrate the impact that he wishes to have on listeners, and they contrast nicely with the beat switch of the second half of the track, joined with Lamar’s boisterous callout to Mustard. It is as hilarious as it is hype and makes for one of the most memorable moments of the entire album. The orchestral strings resound as if they were taken straight from a Star Wars soundtrack, and they add immensely to the epic, anthemic feel of the track. Lefty Gunplay, while not adding much to the song throughout its runtime, does a nice job at capping off the track with his repeated refrain, “S*** gets crazy, scary, spooky, hilarious.”
The song “dodger blue” featuring Wallie The Sensei, Roddy Ricch, Siete7x, Sam Dew and Ink slows things back down and gives several references to Los Angeles culture, making any LA resident like Kendrick feel right at home as he coasts along the beat. Wallie, Roddy and Siete7x handle the chorus smoothly, as do Sam and Ink with the outro, even if the track feels more like an interlude amidst the bangers and lyrically denser songs. The murkiness makes a return on “peekaboo” featuring AzChike, which has an addictive chorus from Lamar as he rapidly repeats “What they talkin’ ‘bout? they ain’t talkin’ ‘bout nothin’”. It’s another showcase of Lamar’s menacing attitude towards his opponents while also giving AzChike time to shine with his own threatening energy directed towards enemies in the music industry. Though not the most lyrically substantive, it’s pretty enjoyable thanks to the aforementioned chorus and Kendrick repeating the title at the beginning of every bar that helps get it stuck in your head.
The eighth song “heart pt.6” is the sixth installment in Lamar’s “The Heart” series which changes the formatting of its title to humorously distinguish itself and omit Drake’s diss with his own “The Heart Pt. 6.” Lyrically, Kendrick takes a trip down memory lane and delves into his history as an up and comer in Top Dawg Entertainment and Black Hippy. It’s a touching moment that pays respects to friends and collaborators alive and dead, including Schoolboy Q, Ab-Soul, Jay Rock, Dave Friley, and TDE president Punch among many others. And while Kendrick asserts that this chapter of his life is now closed as he begins a new era, the feelings towards his associates are far from resentful. His gratefulness towards his friends and the fondness for the memories they shared shows both humility and pride from the rags to riches struggles that he endured to make it where he is now, all backed by a soulful boom-bappy beat that makes for a worthy addition to this acclaimed series of songs.
The title track “GNX” is a bit of a head scratcher instrumentally, as it sounds somewhat bare and jagged with its beat and not quite as memorable in the bars as what’s come before it. Rather than having Kendrick dominate most of the track, he sits on the sidelines and lets MCs Peysoh, Hitta J3 and YoungThreat ride on the beat while they dish out their individual verses that highlight their struggles and threats being new names in the game. If there is one thing that this track is commendable for, it’s Kendrick’s decision to give these newcomers the spotlight and give back to the people of the state he grew up in; even if it produces somewhat garish results.
Closing out the album, “gloria” once again featuring SZA is another soulful tune embellished with Spanish instrumentation and intro vocals from Barerra that depicts a relationship between Kendrick and an unknown woman (voiced by SZA) who has stuck with him from his humble origins to the present day. He attributes much of his power and influence to this romantic interest, who has remained at his side and reminds him of the privilege he has due to her support. Powers and privileges that can “heal… or kill…” as he makes multiple references to paper and pages, only to reveal at the very end or the album that this muse is none other than his pen, which has given him the ability to communicate his struggles in a way that is true to himself and impactful to his listeners. It’s a beautiful conclusion to the power of songwriting in the right hands and ties back to the previous themes of Kendrick using this talent for the betterment of himself and those who look up to him, striving to be better than those he idolized.
Despite having a shorter runtime compared to his most popular projects, GNX packs quite a punch in 48 minutes with a barrage of bangers that are substantive in ways that only someone with the “greatest of all time” moniker can do. Through the tumultuous first half of the year with his monumental beef, Kendrick has taken all criticism in stride and has shown himself to be courageous in the face of naysayers. Even his loudest rivals cannot match the volume of his strongest supporters, let alone the artistry that he has under his name. When comparing the reception of new material from Drake to the reception of new material from Kendrick, it becomes abundantly clear who came out the victor. Feud aside, the future looks bright even if he’s wary of the company he keeps. Amidst the duplicitousness of some of hip-hop’s largest figures, Lamar remaining true to himself assures security in his friends, family, and continued legacy as modern rap’s most talked about figure.