It’s hard to come up with a simple conclusion after giving a new Kendrick Lamar album its first listen. In all honesty, it’s nearly impossible to form an early review without it being surface level. The moment it was announced that ‘Mr. Morale & the Big Steppers’ was on the way, fan anticipation instantly became hard to contain. The anticipation boiled over and led to Apple Music and Spotify crashing for the first couple hours the album became available. Who can cause so much hysteria that even the two biggest DSPs can’t handle the amount of traffic?
… Cornrow Kenny, that’s who.
But what can you expect? The world has been waiting on King Kendrick to speak. About 1,855 days (5 years) if we’re counting correctly. No one can rush a K. Dot album or the time it takes to digest what he has to say, or how he wants to say it. Especially when it’s a project where the levels of unapologetic creative control match the sound.
Kendrick becoming one of rap’s most commercially successful conscious rappers isn’t what he set out to do. It was never about being morally right or politically correct for him, but rather about being real with himself and trying to speak for the voiceless. As he said in his 2017 interview with Noisey, “I’d rather talk about my reality… Let me tell my story, let me tell other stories out here [from people] that want to do something different—but can’t, because you’re in an environment where you’ve got to just adapt.” So if anything, ‘Mr. Morale & The Big Steppers’ picks up where the outro for To Pimp A Butterfly ‘Mortal Man’ leaves off.
“When sh*t hits the fan, is you still a fan?“
The album’s intro “United in Grief” starts with a hymn that repeats itself throughout the project. “I hope you find a peace of mind in this lifetime.” Instantly, he begins presenting listeners with a series of vague questions atop hesitant piano keys. He finds his pocket and breathlessly continues by dishing out lyrics offering takes on how people view social constructs such as maturity and pain. The song automatically shifts into this rollercoaster of a dusty drumkick sample. The increase in energy speeds up Kendrick’s flow as he pleads for those to understand he’s only mortal. “I GRIEVE DIFFERENT” becomes the constant message of the second half of the outro.
The second track “N95” urges people to remove the masks they hold up to hide themselves. The best thing about this song is as lyrically complex as it is, it’s just as pleasing sonically. The synths and hi-hats on here deliver a sound that’s catchy and chart-ready. But early on, he shows he doesn’t care to make something lyrically or musically digestible. It’s just him speaking his truths and delivering the best way he knows how: with full creative integrity.
Right on time for the first major surprise of the album: a Kodak Black appearance. In fact, he plays a significant role throughout the album. And it begins with him presenting third track “Worldwide Steppers”. The song itself is jazzy but haunting, surrounded by background howling voices and bass thumps. Kendrick urges people to recognize even our purist thoughts can be as morally wrong as they can be right. His point is quickly overpowered as his alter ego kicks in with a relentless flow. The tale follows a young K. Dot reminiscing of having sex with a white woman for all the wrong reasons. He doesn’t care to deliver it in a “correct” way, but rather to say he’s aware and still indifferent.
When you dig into the context of his lyrics, it leaves whether his actions are justified or inexcusable up to the listener.
Making that decision requires just as much discretion from us, as it requires for him. The same is said for Kodak being on ‘Mr Morale & the Big Steppers’. For a rapper to find himself surrounded by controversy and serious allegations, spanning from his various jail sentences and a guilty plea to a sexual assault case. His appearance immediately raises eyebrows and draws some listeners away from the project’s overall message. The “Rich (Interlude)” features a standout freeform verse reminiscing of ‘Yak’s rough South Florida upbringings.
The interlude epitomizes the image of Kodak being the Big Stepper, the commonly demonized black man that typically responds with violence. Whereas people see those like Kendrick and Baby Keem as Mr. Morale, the celebrated ones held in high regard for making the “right” decisions. At its core, it matches with the point that Kendrick raises later in the deep album cut “Savior”.
“Like it when they pro-Black, but I’m more Kodak Black” – Kendrick Lamar from “Savior” ft. Baby Keem & Sam Dew
In most people’s eyes, Kendrick never let himself become a product of his environment. Regardless of how people see him, the environment he grew up around in Compton makes him feel more connected to Kodak than to the virtuous image bestowed upon him. How society perceives Kendrick is based on if he’s right and wrong, but that’s subjective. The idea is ever-present on the emotional journey to acknowledging generational curses on “Father Time”. It begins with Kendrick rejecting the idea of therapy, a stigma that still plagues the black community as research shows only a third of Black Americans struggling with mental health issues will ever get proper treatment.
The reversed sample instantly gives it a nostalgic feel as Kendrick reflects to address his own daddy issues. His verse delivers an emotional take as he reflects and challenges the norms of masculinity. Where a father can believe certain teachings show boys how to become men, they can also breed emotional unintelligence and vulnerability issues. This is easily one of the best songs, with Sampha giving a memorable performance in the chorus.
It’s the message he tries to convey on “We Cry Together”, a back-and-forth argument collaboration with Taylour Paige. It spotlights the plights between black women and men that are constantly brought up in the community, such as infidelity and bringing past trauma into relationships. Its delivery is raw as both try to top the other’s argument by digging deeper at their flaws and problems. The uneasiness of the piano keys here matches the conversation’s tone, playing like a Malcolm & Marie scene. Deciding who is responsible for the other’s mistakes and personal shortcomings, gets overshadowed by their lust for each other.
The headboard squeaks on “We Cry Together” turn into tap shoes, illustrating how we avoid and dance around difficult topics, instead of recognizing the elephant in the room.
The choice to not to tap dance around the conversation really hits home on “Auntie Diaries”. The song has a lighter tone, as Kendrick softly describes understanding his ignorance and miseducation around accepting sexuality and gender identity. His lessons begin with his Auntie’s (now Uncle’s) journey, and is further ingrained once he witnesses his close cousin Demetrius become Mary Ann. Despite the education he received to understand his wrongs, the uncomfortability his ignorance caused his cousin to feel can’t be ignored; even if they grew up on the same ideals. While it may have been expressed in a way that could easily be misinterpreted or seen as offensive, it was his way of tackling a difficult topic in the best way he knew how.
Dissecting difficult topics is exactly how the gut-wrenching track “Mother I Sober” comes into fruition. The soft and airy instrumental places Kendrick in a confessional state, coming to grips with his past trauma so he can grow instead of further burying it. The beat plays like calm waters as serene background vocals hover around the track. It’s through acknowledgement and understanding that helps Kendrick free himself of the shackles that held him and his family back for so long. The outro is a powerful victory because it represents Kendrick’s discovery of balance between the Big Stepper and Mr. Morale.
Kendrick is hailed to be righteous, even when he tries to make it clear he’s flawed like the next man. The glorification he receives can misconstrue what’s expected of him being in such a position. The amount of responsibility from the outside seems to unbearable. He recognizes the battle, repeating “you can’t please everybody” on the somber song “Crown”. Heavy is the head who wears it, and nobody can fathom the weight until they carry it.
“Kendrick made you think about it, but he is not your savior,
Cole made you feel empowered, but he is not your savior,
Future said, ‘Get a money counter’, but he is not your savior
‘Bron made you give his flowers, but he is not your savior”
The short poem summarizes his point on the next track “Savior” to a tee. The beat is more tribal with a cafeteria table-style bassline that has a natural bounce to it. He dives even deeper into the topic he presented on the previous track with more aggression. He calls out everybody: those maintaining silence to avoid being politically incorrect and those policing what is. His verses urge listeners to not choose either, but instead to balance honesty with understanding, while also leaving room for growth and accountability.
More importantly, he reminds the people to not rely on him and his moral compass. A bulk of this album is Kendrick rejecting the responsibility and glorification bestowed upon him. The everlasting battle plays out throughout the album, which is what make the outro so much better. “Mirror” is a victorious track as Kendrick joyfully sings about choosing staying true to himself instead of societal norms. The Black Panther soundtrack-esque beat is fitting as Kendrick ascends and accepts his true self, good and bad. The track is meditative, with Kendrick repeating the chorus like it’s a mantra.
“I choose me, I’m sorry.” – Kendrick Lamar from the outro “Mirror”
In terms of artistic expression, the project is a timely personal statement, tailor-made for today’s social climate. ‘Mr. Morale & the Big Steppers’ does exactly what it sets out to do in an impenitent fashion. At its core, it’s made to encourage discourse (within the Black community) and for Kendrick to publicly choose just being human instead of carrying the crown the people have placed on him. He succeeds in doing that by illustrating perspectives and topics pertaining to the duality of man. His highly-anticipated political statement was made on his terms and at his discretion, completely disregarding everyone else’s. The turnout of his latest project is a marvel that speaks to his true artistry.
The difficulties in ‘Mr. Morale & the Big Steppers’ lie in how the music comes across sonically. This has to be Kendrick’s most difficult project to digest and it shows. It has its moments, like resilient underdog track “Count Me Out”, the ode to love conquering all with “Purple Hearts”, and the wavy Kodak Black collaboration “Silent Hill”. But there’s nothing on here that immediately feels like a standout track carrying that Big Bang effect. That, and the various loose jazzy themes aren’t as ear-pleasing as some would’ve hoped they would be. These are the risks that come with making projects solely off uncompromisable creative freedom. Some moments, lyrics, and appearances here can be triggering and offensive to others. But it’s never about being Mr. Morale for Kendrick, but rather being on the right side of living his truths.
