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Courtesy of Roc Nation

VIBE’s Staff Reviews JAY-Z’s Album, ‘4:44’

After weeks of trying to decipher the meaning behind the peach posters with four characters stamped in a large black typeface, 06.30.17 finally arrived with the musical gift of JAY-Z's 13th studio album, 4:44. Once the clock struck midnight, all of the anticipation seeped out of headphones and speakers and into the eager ears of Hov fans. But what came to light was not at all what was expected from the rapper turned entrepreneur turned family man.

After closely listening to Mr. Carter's lyrical content and 10-track project of honesty, five VIBE editors and writers share their thoughts on the sonically rich No I.D.-produced project that many hip-hop fans have been vibing to since its release.  Dig in down below.


Desire Thompson, Associate News Editor

JAY-Z’s career has lasted as long as the existence of millennials. In that lengthy time frame, the Brooklyn native has endured family hardships and a rap career highlighting his escape from poverty through the drug game. His tales have allowed him to carve a persona that became the standard in hip hop. Four years after Magna Carta Holy Grail, Mr. Carter has laid out his demons on 4:44, a diary of tingling proportions that reminds never to idolize your heroes. A vulnerable and at times, a broken JAY is heard on wax taking accountability for his actions thought to be genius by his former self.

With No I.D. as his proverbial outlet for the rap feels, Shawn Carter steps up to the plate to question the man so many embody (Drake, J.Cole, Meek Mill) and breaks him into pieces. From “Kill Jay Z” to “Family Feud,” the rapper confesses to being the villain in his biggest scandals (Solange, Lance “Un” Rivera) while in an odd way, finding sympathetic refuge from fans. He also expresses need to think ahead, preferably when it comes to his criticized art collection on “The Story of O.J.” One “Legacy,” his wealth becomes another episode in the 13th season finale of his life, providing him financial freedom.

No longer the “guy you can lie to,” JAY’s 10-track opus hits every cerebral chamber. “Smile” is for the soul (along with his mother’s touching spoken-word outro) while “Bam” feeds the ego. “4:44” leaves us debating the ages of male maturity and “Family Feud” gives the Instagram generation lyrics and “super facts” to praise (or criticize). His apologies are for his wife Beyonce and his children, who will bear the burden of learning about their father from two perspectives–his POV and the Internet’s.

Looking ahead has always been JAY’s strongest superpower– which is why he goes back to heal wounds that could continue to dampen his future. With strong samples from Nina Simone, Sister Nancy, The Fugees, Raekwon and a mix of raw and off the cuff beats, JAY finds solace while watching the rap game from the VIP section. It’s the battle between his past and the future that will always haunt him, as he notes on “Marcy Me.” “When Denzel was blottin’ carpet, I’ll pack a nine millimeter when Slick Rick made Mona Lisa,” he recalls. “When Lisa Bonet was Beyoncé of her day, I had divas y’all/ Think I just popped up in this b**ch like a fetus? Nah.”

There are hints that this could be the rapper’s final album when listening to the HOV-centered “Bam,” but at least he’s confessed to truths through music’s most machismo genre. Whether you forgive JAY-Z is your call. In the end, JAY, one of the greatest rappers of our time, has forgiven himself.

Mark Braboy, Contributing Writer

For a very, very long time, JAY-Z has been wearing a diamond-studded, yet very tightly worn mask. That mask has hidden the vulnerability, honesty, and the layered humility of the man named Shawn Carter. And while that mask has slowly been shed since at least The Blueprint, his “face” has finally been unveiled in the form of 4:44.  Hov has given us a body of work where he is unflinchingly poignant and all the way real about not just his personal life and transgressions, but also what it means to be a revolutionary black entrepreneur in the music business while still standing on the side of the oppressed, and still being the God emcee (because…”Bam”).

Liberation screams throughout the entire album in multiple facets whether we our liberating ourselves from our sins of dishonesty and infidelity (“4:44”), the false ideas of what it means to be black and elite (“The Story of O.J”), or breaking free of societal boxes while celebrating and living in one’s truth (“Smile”). Thanks to the scoring done by Chi-Town’s own No I.D.,  4:44 turned out to be a balanced, sophisticated and well-put together package. He shows his growth without being obnoxiously pretentious with his riches like the in Kingdom Come and some parts of Magna Carta Holy Grail. Sure, he flexes (because what’s a Jay album without a little bit of that) but it feels more constructive than some of his last efforts.

This album will forever stand the test of time among both Hov’s greatest masterpieces and hip-hop’s most legendary albums for two sole reasons. One, this album marks the complete evolution of JAY-Z from a musical and personal standpoint. He lyrically outclasses himself throughout the album and challenges himself by adding far more emotional depth than he’s ever done. And two, the musical chemistry between Jay and No I.D. is surreal. It’s the kind that can be seen nowadays among the pairings of Metro Boomin and Gucci Mane or MikeWillMadeIt and Rae Sremmurd. Together, the two have put together a masterpiece that will grow with us like fine wine. With a treasure trove of knowledge and confessions, the Michael Corleone of rap has permanently marked his place in music industry history. Hip-Hop needed this album and after processing this album multiple times, I’m calling it what is. A classic.

Marjua Estevez, Senior Editor

As someone who's been both a victim and culprit of infidelity, I imagine there were levels of difficulties that JAY-Z encountered while recording his long-awaited "Lemonade response." However, I'd be remiss without saying I find some of his most honest one-liners problematic. Words like "I apologize, often womanize/ took for my child to be born to see through a woman's eyes" reeks of what stems from toxic masculinity and, thusly, what we know as patriarchy. Why wasn't Beyoncé enough? Where is the intuitiveness to see women as human, with or without a child? Still, I honor JAY's honesty and readiness to own all of his truths—provided these are really his truths and not just poetic license or material.

I dig this JAY-Z far more than the human he's been in previous eras. I'm not as great at separating the man from the artist as most, however great a prodigy Shawn Carter is in hip-hop culture. But I again would be remiss if I did not sing some of his praises for the 10-track opus he calls 4:44. I appreciate him turning a lens on topics like slavery, colorism, black entrepreneurship, investment, pro-blackness and the idea of financial freedom while paying it forward. There's a sense of privilege, yes, but the jewel for me was him planting that seed that will, in turn, create dialogue around those ideas with his core audience, which spans generations of black and brown communities.

I mostly appreciate JAY's vulnerability, what I interpreted as a softness pouring from his chest in honor of the woman he nearly broke. I don't like to give cookies for things I think should just be, but I do know what it's like to "suck at love." In the story of Mr. and Mrs. Carter, two people chose to return to the groove. That dance that takes years to perfect. And that's what I'm applauding above anything else.

Tony Centeno, Contributing Writer

As soon as he said "Cry Jay Z” on “Kill Jay Z,” I took that moment of foreshadowing as a warning that his 13th studio album would be more emotional and transparent than anything he's ever made. As a longtime fan of the Brooklyn phenom, I’ve worn out all three Blueprints, his “final LP” The Black Album and, of course, his debut album Reasonable Doubt. Yet, 4:44 is not just an album I can play without skipping a beat. It stands as the only album from his extensive catalog that I’ll continue to learn from for years to come.

4:44 exposes the underlying emotions people possess and, like most alpha men, tend to forget. JAY exposes his issues with Prince's legal team in "Caught Their Eyes," yet flashes a big "Smile" as he embraces his mother’s sexual orientation. He shines a bright, golden light on black excellence on "Legacy," and deals with the struggles of racism in America in "The Story of O.J." After flexing his stance on rising social injustice and LGBT rights in America, Hov starts a brand new therapy session in the title track "4:44." You can hear the tremble in his voice as he begs for Bey's forgiveness as he admits his faults in the most honest bars he ever spits.

When he's not baring his soul to the world, Hov offers life advice to the young generation who hold stacks of money up to their ear for the 'Gram. He emphasizes that credit is more important than throwing stacks of cash in the air. He reassures stubborn men everywhere that therapy might not cure all of our mental struggles, but it will help alleviate the constant pain and anguish. The best part about the album is that, after the smoke clears from his lyrical bombs, JAY survives it all. I know some might not agree, but I'll go out on a limb and call this masterpiece his magnum opus.

Richy Rosario, Contributing Writer

Human evolution requires digging deep into a dangerous introspection we often tend to avoid. It takes finding and using that courage inside the strength we didn’t know we had to help us arrive at that place of transparent vulnerability; inevitably collides with the truth we often hide beneath our cleverly pre-meditative constructed faux realities. In his new project, 4:44, we find the 47-year-old JAY-Z in this cathartic and honest destination. The 10-track offering presents Shawn Carter as a mature man who’s ready to right his wrongs. He lays his cards all out on the table and seeks redemption. “Cry Jay Z, we know the pain is real/But you can't heal what you never reveal,” he ponders on the album’s opening, “Kill Jay Z.”

Amid, his travels he still seemingly calls out those who have wronged him, too. In that same track he calls out Kanye West for his infamous 2016 rant in a California concert. The most telling song on the album is “Family Feud” featuring Beyoncé. On Lemonade, she hints of a “Becky with the good hair,” and (seemingly) accuses her husband of an affair with her. That same antagonist comes up on JAY’s side of the story, too. “Yeah, I'll f**k up a good thing if you let me/Let me alone, Becky,” he raps, but he finally comes clean on “4:44” blatantly admitting all his mistakes. He also chooses to free his lesbian mother out the closet on “Smile.”

Sonically, the album is tastefully saturated with great lines and beats, thanks in part to producer No I.D. And while he lays all his shortcomings on wax, he still makes sure to remind you of why you fell in love with him in the first place. “Got the heart of a giant, don't you ever forget/Don't you never forget, Jigga got this shit poppin'/I pulled out the pot when we was outta options,” he declares on “Bam.” After all, the greatest men of all time have made mistakes and JAY Z is seen as no exception.

Ashley Pickens, Contributing Writer 

Shawn Carter knocks down doors, stomping onto the viaduct of his life, with his marriage and family just eye’s view below, meeting JAY-Z on the other end with a death threat. The warning signal that woke the man that harbors the beast and the martyr? The fear of losing his family. That’s 4:44 - the Life And Times of Shawn Carter vs JAY-Z, a crusade to find the existence in the middle of the man and his sobriquet. The title track, “4:44” is the “crux” of the album rests in the middle of the overpass, while his “Legacy” awaits below.

When you lay the “A-side” and “B-side” parallel to each other, there’s a battered tale of the fight it took to awaken the arrival of the man in the middle. Carter explores the treacherous fear of becoming Eric Benet and tries on a suit of vulnerability - in exchange for his armor - as he struggles to accept his exaltation from his days of alibis. While the flip side - the B side, (“Family Feud,” “Bam,” “Moonlight,” and “Marcy Me”) are more of the entertainer we’re familiar with as he braggadociously parades his “cute” billionaire status while he and Bey are “merrily, merrily eating off these streams.”

On the final battle of “Caught Their Eyes” and “Marcy Me,” he taps into Hova, providing for a keener vision to his surroundings. From this, Young Guru gathered and melded the "ideas and truths" that No I.D. hacked away at as his therapist, while everyone followed the Mrs. Carter-approved blueprint. Awakened at 4:44 am was the man in the middle of JAY-Z and Shawn Carter, born and ready to protect his “Legacy” (his children, his Bonnie and Clyde love story, and an empire he can pass down to his children).

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Review: Jessie Reyez’s Expressive EP Proves There’s Beauty In ‘Being Human In Public’

Jessie Reyez’s recently-released EP Being Human In Public proves that the Toronto musician’s fiery exterior comes with a cool, introspective center. Her 2017 EP Kiddo introduced her to the world as force who was willing to “go there” by singing about major issues like sexual assault and emotionally abusive relationships. This time around, Reyez muses about the softer side of love, displaying her flexibility within the overarching theme.

Much of her latest EP, which dropped Friday (Oct. 19), pertains to the wide range of emotions that come with romantic appreciation. Thanks to her animated performance ability, Reyez encapsulates the complex gamut of the strong emotional state; there’s longing, anger, confusion, confidence and so much more. The 27-year-old songbird’s vocal versatility has gained fans like Kamikaze collaborator Eminem and Aerosmith’s Steven Tyler, and her attention-grabbing abilities are showcased throughout the multi-dimensional seven-song project.

Reyez’s true vocal gifts shine through when paired with more demure production, evident by the EP’s starting track “Saint Nobody” and the stand-out love anthem “Apple Juice,” produced by Tim Suby and Fred Ball. Her effortless falsetto notes at the duration of the aforementioned song are a melodic combination with the strings that finish out the track.

Perhaps the song that best displays Reyez’s tender core is “Sola (Interlude),” which is sung entirely in Spanish. She coos over an acoustic guitar to a lover about how she’s not necessarily the type of woman they should be with—she would be better off sola (alone). The result? A heart-wrenchingly relatable track that could have served best as the EP's stunning finale.

“I'm not the type of woman that your mother wants to see you with,” the lyrics translate to. “I could never please you...I'm an eagle, flying alone.”

While the content throughout Being Human In Public is rather profound in nature, Reyez makes sure that her signature unapologetic delivery to tackling topics through her songwriting is also highlighted. Thanks to assistance from budding music sensation Normani and Grammy-nominated R&B singer Kehlani on the “Body Count (Remix),” all three singers’ stances on body positivity, sex positivity and all forms of love are highlighted.

Additionally, the straightforward “F**k Being Friends,” which is slightly reminiscent of her quirky Kiddo track “Shutter Island,” deals with the occasionally murky divide between courtship and friendship. “My p***y beat better than my heart do?” she sings, “so why you p***y-footin’ on this part two?”

“In every aspect—in my music, in my life—I’m going to be straight with you, and I tell people too, I’m like that,” Reyez told VIBE in April about the importance of being upfront. “I need you to just tell me direct, because if the roles were reversed, I’m the type to tell you direct.” Love is one of the things that connects all of us as people, and if you can’t be real with that, what can you be real about?

Reyez makes sure that her honesty on wax is as plain and simple as it is in her personal life, and Being Human In Public is an audibly-pleasing extension of her personal beliefs and values.

READ MORE: NEXT: Behind The Extraterrestrial Voice, Jessie Reyez Is Human Like The Rest Of Us

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Lupe Fiasco performs as part of the benefit concert, 'Power To The People' at Coliseo Jose M. Agrelot on March 18, 2018 in San Juan, Puerto Rico. (Photo by Gladys Vega/Getty Images)
Photo by Gladys Vega/Getty Images

Lupe Fiasco Eschews Label Drama And Controversy For Ambitious 'Drogas Wave'

In the early 2000s, JAY-Z called Lupe Fiasco “a breath of fresh air” for rap. Most of the hip-hop world agreed. He delivered a standout verse on Kanye West’s “Touch The Sky,” and a well-regarded Food & Liquor studio debut that led rap fans to saint him as an imaginative, skilled lyricist, adept at weaving storytelling, social commentary, sustained metaphors and technical precision together in an A+ package. Unfortunately, it didn’t take long for that figurative breath of fresh air to become a sigh.

While crafting his third album Lasers, he began having creative differences with his former label Atlantic Records. Though the album was eventually released — after his fans literally petitioned for it — the struggle derailed what seemed like his inevitable trajectory to the heights of music that stylistic peers like Kendrick Lamar and J. Cole now occupy.

Lupe’s known in part for his sophomore album, The Cool, but it seems like a good stretch of his career was more defined by the frustration. In 2018, though, Lupe’s finally on the right wave — the Drogas Wave. Lupe dropped his first independent album last week, a 24-track conceptual piece dually exploring the drug trade and the transatlantic slave trade that cap-stoned his own trade of Atlantic Records for artistic freedom.

I really only did this album for solid Lupe fans. The PhD’s in Lupeism. It’s in no way for new fans, the casual listener, record sales, the year 2018 or radio. Just the core fans to have a ball with. https://t.co/N76F5YAeDJ

— “DROGAS WAVE” NOW PLAYING (@LupeFiasco) September 26, 2018

He’s always been a master of conceptualization, weaving thematic, if not narrative-driven connections from verse to verse and song-to-song on albums like Food & Liquor, The Cool, and Tetsuo & Youth. Drogas Wave is among his most ambitious work in that regard. The album, which he’s said was made specifically for his “core fans,” ideates what the rhymer called an alternate, fantastic history of the slave trade in which a group of Africans jumped off a slave ship, survived underwater, and spent their new lives sinking subsequent slave ships.

But he still delves into the reality of what happened on songs like “Manilla,” where he sheds light on the currency that European countries used to purchase slaves from West Africa to build so much of the western world. Looking to unite black and brown people across the Americas, Drogas Wave shows him representing for three communities of African descent cultivated in spite of western colonialism: Latinos, West Indians and Black Americans. He rapped fluent Spanish on “Drogas.” He collaborated with reggae royalty Damian Marley on “Kingdom” and rhymed in patois on “Gold vs. The Right Things to Do.” On the thrilling “King Nas,” he dedicates some of the project’s most impeccable rhyming not to God’s Son, but his two young nephews King and Nas who are coming of age in a treacherous environment for all black people in America.

The album was well-crafted and laden with thought-provoking, research-worthy bars examining the scourges that plunder black and brown communities, but it wasn’t flawless. He utilized over a dozen different producers on the project, which resulted in a few compositions that are less compelling than others. There are also choruses by Nikki Jean on “Down” and Troi Irons on “XO” that felt a tad too eager for mass appeal. But even on those tracks, the invigoration and dedication that Lupe rhymes with make them worthwhile listens.

Drogas Wave shows Lupe on the right track. While so many of his fellow rap veterans were ravenous publicity hounds this year, he spent his online time on Instagram Live, dropping what he called “super facts” about the fallacy of white supremacy and the music industry. He also apologized to people he’s insulted like former President Obama, Childish Gambino, Kendrick Lamar, and others. Throughout that March apology session, he ended his statements with variations of, “I should have kept that to myself.” Perhaps he’s now in a space that he should have been his entire career: independent and letting his incredible lyricism speak for him.

Lupe always has wisdom to impart, but like his Chicago comrade Kanye West, he doesn’t always communicate his thoughts in the best way. Over time, he developed a reputation for being an easily agitable presence on Twitter. He’s gotten into arguments with Kid Cudi, Azealia Banks, and several others. In 2013, he derogated Donald Glover as a “Black” instead of a “n***a” for arbitrary reasons.

In 2014, when Australian rapper Iggy Azalea was being accused of cultural appropriation because of her put-on “Atlantastralian” accent and racist lyrics, he defended her by saying she had “a space” in hip-hop. That comment made him one of the first victims of the dreaded social media “cancel,” and he lashed out with his own tweetstorm. He tweeted, “b***h I been here on the rooftop screaming in the ears of these brainwashed a** more money on they feet than in they pocket a** n***as,” and also proclaimed, “I'm here...kick pushing you ignant a** n***az and fast trout mouth a** b***hes all the way to the promised land kicking and screaming h**.”

His retorts were based in truth, but sometimes, brutal honesty is just brutality. The tweets typified why Phonte infamously likened Lupe to The Newsroom as a “technically brilliant show that would be a lot smarter if it stopped trying to show people how smart it was.” Compared to Q-Tip’s thoughtful hip-hop treatise to Iggy, Lupe came across like a know-it-all. But at the base of his anger was a frustration with being misunderstood. He incredulously groused, “I thought I was one of the good guys.”

The son of a Black Panther, Lupe had always delivered anti-establishment messaging in his music that hampered his budding status as the “Superstar” he rhymed about in 2007. In 2011, when most of mainstream hip-hop was deifying Barack Obama, Lupe was telling CBS that “the biggest terrorist is Obama and the United States of America” based on America’s warmongering throughout the Middle East, South America and Africa in particular.

His ire toward the country’s tyranny inspired an awkward, 30-minute rendition of the Obama-critical “Words I Never Said” at an inauguration party in D.C., which the show’s organizers called “a bizarrely repetitive, jarring performance that left the crowd vocally dissatisfied.” Songs like his “American Terrorist” series display his analytical acuity when it comes to diagnosing the roots of systemic oppression and its consequences, but at that point he seemed unable to properly convey his intellect outside the booth.

Lupe has said that he felt he was “immediately blackballed” after his Obama comments. While Lasers had sold 204,000 copies in its first week, 2012’s Food & Liquor II: The Great American Rap Album was Grammy-nominated, but sold just 128,000 records overall as of 2012. His aforementioned Twitter antics were overshadowing his lyrical gifts, his attempts to drop knowledge were being mocked or misunderstood, and worst of all, he couldn’t release music on his own volition.

He told Power 106 in August 2014 that he was “worn down” by the “nonsense” of dealing with Atlantic, and that “we’re just trying to get albums out just to get off the label.” Months earlier he told Torae that, “I don’t have a 360 deal,” so “since they can’t eat off my merchandise or my publishing or my touring they treat me like a third-class citizen.” Still, he resolved, he’d ”fight through it.”

That determination defines him. While discussing “Mission” from 2015’s Tetsuo & Youth, he reflected, “I’ve been inspired by those who are surviving, thriving and fighting.” Just like he’s been fighting to thrive, in spite of label woes, the backlash from subversive beliefs, and self-sabotage that collectively tarnished his mainstream standing. Others artists have let the industry consume them, but Lupe’s still here, rekindling a musical brilliance that his fans knew he was capable of.

On Drogas Wave’s “Jonylah Forever,” a poignant song that ideates 6-month-old Jonylah Watkins, shot dead in 2013, as an adult, he rhymed about how “the coolest thing is when they offered you that high paying slot, you replied ‘they need me in the hood,’ and that's where you reside.” He then talked about her saving a shooting victim, rhyming, “and in that moment, where you gave your help/I bet you didn't know that you saved yourself.”

That powerful summation also applies to him, as an artist who helped others see the light while vying to keep his own spirit alit in a music industry that he mentally “quit” on a decade ago. He told Billboard in 2015 that “I'm happy being that somewhat sophisticated, overly deep weird guy making powerful music — but just two or three degrees away from the center of attention.”

Einstein once mused that, “creativity is intelligence having fun.” It didn’t seem like Lupe was having much fun as a major label artist. But after fulfilling his obligations to Atlantic with Drogas Light, and releasing Drogas Wave independently, he’s revitalized for the next chapter of his career — on his terms.

He recently stated that there would be no interviews for this album cycle because, “I’ve never seen myself as a star and I still don’t.” That makes sense. Stars can’t see themselves, it’s only us spectators who experience the fascination of watching them hover.

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Jack McKain

When It Comes To Both Sound And Sartorial Matters, Masego Has Upgraded To Silk

With his new album 'Lady Lady,' Masego strides into grown and sexy territory.

Masego is a silk man now, or so he tells me. He’s just shaken off the water from his body length PUMA coat, where a committed Reykjavik crowd braved an Icelandic “summer” rainstorm for him. Plastic bags are tied securely over his flashy sneakers, because he isn’t messing them up in the visible mud puddles cratering the city’s Laugardalshöll sporting grounds.

It’s a far cry from when we first met in Brooklyn, New York two years ago, where the then-22-year-old was pigging out at Peter’s Since 1969 before a packed Webster Hall show (R.I.P.), dressed in a multicolored velvet robe, busy blue Hawaiian shirt and basketball shorts that matched neither.

He’s almost embarrassed at the memory. “Why did you allow that?” he asks now, shaking his head. “I wanted the cover of The Fader and that's what I thought it would take. I was trying to out-weird n***as.” Masego, now 25, has not only learned from his sartorial flubs, but has overcome the mild insecurities that inspired them. “I was in this weird battle with people I didn't know and then I started to get more comfortable,” he says. “Get that silk.”

Masego 2.0 is upon us, and his grown and sexy debut album, Lady Lady, is the proof in the pudding. Right from the jump of the 13-track project, released on Sept. 7 (an admittedly somber day for music lovers), the “Silk…” opening instrumental makes it crystal-clear that his intention is to soothe and to woo.

His charm and playful sensuality come to the forefront on smooth tracks like “I Had A Vision,” the SiR-assisted “Old Age” (which also features Instagram comedian Renny) and the freestyled “Queen Tings” featuring SiR’s cousin, Tiffany Gouche. However, hip-hop and trap fans aren’t left out of the equation. Cuts like “Shawty Fishin (Blame The Net)," and “Lavish Lullaby” pair slick bars with enough knock and bass to soundtrack road trips as well as coax wallflowers onto the dance floor with a partner.

In the time between the release of his 2016 freebie project, Loose Thoughts, and now, Masego has seen some world. Frequent exposure to different pin drops across the globe and the creatives who live there bolstered his sound in exciting ways, giving way to some of Lady Lady’s standout selections. It’s an understatement to say that the LP’s instrumentation and production handiwork magnify his spotlight.

Take a look at the album’s supernova of a single “Tadow,” brought into full fruition during a jam session with French multi-hyphenate musician, FKJ. “I feel like the overseas travel is the inspiration. It kind of builds up and then when I get a chance to sit down, it just comes out,” he says. “I knew I was going to South Africa and then I sat down and we just free-styled, planted some beats, making stuff and then ‘Queen Tings’ was just freestyled. With ‘Tadow,’ on the plane ride to Paris I was watching a Fresh Prince marathon. You know the one where he slept with Janice? That was mad funny to me so that was the last thing in my spirit.”

Then on the album’s slow-burning title track, full-bodied lyrics are an afterthought. Instead, sensual scats and truncated mutters carried along the notes of his sax dim the lights, while velvety vocals crook the finger at his lady-to-be. "If you classy but you're reckless/Then you gon' get choose a necklace, lady lady," he coos, no stranger to slick talk.

“Everything kind of goes back to my uncles,” he says, reflecting on how the idea for “Lady Lady” came about during a family visit. “After going to Jamaica, I understand why they're so cool naturally. My Southern uncles, they got this Southern respect and there's a more pimp-ish side to my father's side and so that kind of comes together with ‘Lady Lady.’ It’s like ‘Lady Lady’ could mean… it’s like almost saying, ‘Hey love.’ It could be a potential love on that level or 'this my girlfriend,' you know what I'm saying?”

Within his short career, Maségo has remained unmarried to just one scope of music. The singer-songwriter and saxophone savant floats between jazz, hip-hop, and R&B (and the occasional trap) from song to song as freely as he pleases, but he's in his bag the most when they meld together. In his eyes, Lady Lady is the perfect cocktail of that, showcasing his creative maturation and slight pivot from the Pink Polo EP-era Masego fans are used to. “After my glow up stage is done, I want to just go off wherever Adele is chilling right now,” Masego jokes. “I want to like just be in the thick of things. I think [Lady Lady] is going to be lovely in the sense of it’s going to give you that next threshold."

READ MORE: Quincy Jones Gives Masego Advice On How To Become A Living Legend

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