Atwood Magazine’s writers weigh in on the merits of Kendrick Lamar’s latest album ‘GNX,’ and how this surprise release contributes to the already-solid legacy of the veteran MC.
Featured here are Atwood writers Josh Weiner, Adam Davidson, Bárbara Martínez Campuzano, Jake Fewx, and Minna Abdel-Gawad!
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To start, what is your relationship with Kendrick Lamar’s music?
Josh Weiner: I’ve been a major Kendrick Lamar fan since 2012, when Good Kid, M.A.A.D City came out when I was in college. I’ve continued to actively listen to him over the dozen years since then and have had the good fortune of seeing him four times; I regret arriving to TD Garden late in 2013 and only catching the tail end of his opening act on the Yeezus Tour, but I’ve since made up for it by catching his full sets on the DAMN Tour in 2017, the Big Steppers Tour in 2022, and at Lollapalooza in 2023. He’s one of my very favorite music artists in general and Top 5 rappers of all time, for sure.
Minna Abdel-Gawad: I grew up in a very Hip-Hop oriented household. So one year when my cousins came to visit and asked my dad if he liked Kendrick Lamar and he said “Eh? He peaked with To Pimp A Butterfly” and it caused so much outrage that this debate lasted us on the entire hour and a half drive we were embarking on I knew I needed to be tuned into Mr. Kendrick Lamar. Since this incident though I’ve developed my own deep love for Kendrick Lamar and this love definitely started when DAMN dropped. Like every high schooler at the time I loved the beats, the catchy bars and the cultural spectacle of it all but I did an English project where I did a literary analysis of “DNA” and this was the first time I truly understood why Kendrick Lamar and his art warrants a hour and a half long debate. His artistry transcends and his honesty and reflection while discussing issues of class, race and politics is astute and his perspective is always relevant. Since then every drop, tease and beef has been on my radar and is always a favorite topic of conversation among friends, family and coworkers.
Adam Davidson: I first heard Lamar’s rapping on Never Catch Me, a collaboration with Flying Lotus he did in 2014. It’s an awesome progressive track which starts with a rapid couple of minutes of rapping, followed by a 2nd instrumental movement that takes the song rocketing into outer space. It always blows me away when I hear it. He dropped To Pimp A Butterfly the following year, and I’ve been a huge fan ever since. He’s one of those artists that transcend their genre and are a phenomenon in and of themselves.
Jake Fewx: I was admittedly a little late to the Kendrick Lamar bandwagon, but I will never forget my introduction to his music.
I was in school for music performance when To Pimp a Butterfly came out in 2015, and everybody—I mean EVERYBODY—was talking about it. There was a span of about a month where you couldn’t walk through the halls of the music building without Kendrick’s presence. You were either hearing someone quoting the lyrics, friends comparing notes on the album’s messaging, and countless students pestering friends to listen to the music. Embarrassingly, in hindsight, I was a classical music nerd who was reluctant to listen to an entire hip-hop album until one of my good friends cornered me, put his hands on my shoulders, and said, “Dude. I will spend $20 and buy the album for you. Take my money. Go listen to it tonight”. I was nice and didn’t accept the money, but the fervor convinced me to cave and finally give Kendrick Lamar a chance, and I finally understood the hype.
Several professors detoured their curriculum to talk about the importance of this music and the “return of G Funk,” which spoke volumes coming from professors whose careers were based on discussing Tchaikovsky or Ellington. Our entire community was buzzing with excitement over Kendrick’s new work, which made the magnitude of that album feel tangible and made for an incredibly memorable time in getting into Kendrick and hip hop as a whole.
Bárbara Martínez Campuzano: Growing up, I only knew Kendrick Lamar because of his collaboration with Taylor Swift in the 1989 album. Nevertheless, when I got to high school, I had several friends who were fans of the rap and hip-hop genres, and of course one of the very favorites was Kendrick Lamar. As I started to listen to more of his music, also because he was going to be part of Super Bowl LVI Halftime Show, DAMN. and Mr. Morale & The Big Steppers became my favorite of his albums. Not only are his songs catchy, but what he sings about or talks about in his songs is interesting and culturally important.
What are your initial impressions and reactions to GNX?
Josh: I was very impressed! I remember playing it in the car all the way through a couple weeks ago right after it dropped and thinking, “Wow… my man has still got it!” I look forward to further listens that will help to reinforce my perspective and admiration of this album.
Minna: Waking up on a random Friday morning to multiple texts announcing that Kendrick had dropped a 12 track album was possibly the best way to start my day, shock and excitement all around. My first listen was fun, I loved the variety of beats, exploration of sub-genres, complimentary features, the inclusion of the Spanish samples and the lyricsim. I didn’t have any particular stand out tracks from the first listen through so I was curious what tracks would stick with me and the culture as we continued listening
Adam: It’s a surprise album, but after the much-publicised feud with Drake, and the exchanging of diss tracks throughout 2024, it felt like one of these hip-hop titans would release something substantial soon. So while it was a shock release, it certainly seemed apt. And though he may attempt to portray an image of a victorious boxer standing over his KO’d opponent, there is some (intentional, perhaps?) vulnerability on show here. Lamar’s repeated affirmation “I Deserve It All” on Man At The Garden may be less of an arrogant statement, and more of an attempt to convince himself of his worthiness, a comforting mantra in the face of harsh criticism. GNX is Lamar’s attempt at ending the war; it’s a statement of his superiority and dominance in the game. Time will tell if it is warranted.
Jake: Given the quality of his early work, it’s hard not to assess Kendrick’s newer work without a hyper-comparative lens given the gargantuan spotlight the man possesses. That being said, I like GNX quite a bit! The album hits hard right off the bat and doesn’t let up for a bulk of the listen. The throwback West Coast sound is fantastic — it fits Kendrick like a glove — but, on first listen, I can’t help but hear much of this as a “Not Like Us” victory lap (which isn’t that bad of a thing, I guess?), but I was kind of hoping to hear some more variety in the music. But after sitting with the album for a while, GNX has grown on me quite a bit. The highs are incredible, and the album as a whole is solid from top to bottom, making for a fascinating addition to the already great catalogue from King Kendrick.
Barbara: When the album came out all of a sudden, I was gladly impressed. As soon as I saw that SZA was a part of it, I knew I’d definitely like it. It had been a while since we saw them collaborate, and “All the Stars” had been one of my most listened songs for a long while. I heard the first four songs of this album, following its order, and I believe it starts off in the dominant, interesting way other Lamar albums have. His theme of resilience and success inside the rap/hip-hop genre is pretty evident, especially in the track “man at the garden.”
How does this album compare to 2022’s Mr. Morale & the Big Steppers – what are the most striking similarities or differences?
Josh: I mean, it’s clearly a very different album, isn’t it? GNX is over a half hour shorter than Mr. Morale. The two records share few of the same producers and guest artists. There’s no violent argument turned into a song here like the notorious “We Cry Together” was. And most of all, this is Kendrick Lamar’s first major album not to be released by Aftermath and Top Dawg Entertainment– why wouldn’t it head off into different terrain from what we’ve heard from him before?
Minna: I completely agree with Josh, this album is completely different from Mr. Morale. Morale is more of a concept album in my view with Kendrick’s focus being on his family dynamics, relationship, heritage and upbringing with a clear cohesive sound whereas GNX feels like a mixtape to me in it’s variety of genre and sound exploration with Kendrick touching on a variety of topics and thoughts rather than one streamlined story.
Adam: It’s the antithesis of that album. Mr Morale is sprawling and esoteric, filled with steaming-hot confessional-style verses, it’s a raw and personal journey. GNX on the other hand is glorious trap-beat resplendence, with sparkling hooks all over the tracklist. In that way you could say it’s his most commercial release, though DAMN’s huge singles like Humble and Loyalty are more instantly radio-friendly than anything on GNX. Lamar is in a totally different place than he was two years ago, and he’s expressed that in the stark difference between his most recent releases.
Jake: I’m honestly pretty shocked at how different the two albums are. While the two albums’s themes are similar, Mr. Morale, while a bit bloated, finds success in its combination of Kendrick’s pop sensibilities and his artsy, thematic storytelling — he manages to squeeze every ounce of meaning out of this type of approach. It toes the line between everything Kendrick does really well, and the album is all the better for it.
GNX, on the other hand, could not feel more different. It’s a sharp, cutting, straight-to-the point hip-hop album that seeks to boost and solidify Kendrick’s superstardom even more so than DAMN. tried to do. Kendrick’s thematic storytelling is still very present, but it is clear he is seeking to dish out a slew of chart-topping hits to cap off his successful “Not Like Us” year. Again, this is not necessarily a bad thing!
Allow me to paraphrase the brilliant Professor Skye’s Record Reviews when I say that I do think the straightforward nature of GNX makes it harder to analyze in a layered, academic, “Lamarian” fashion, like my critical music brain so much wants me to do. While I don’t think either album quite lives up to Kendrick’s early career run, they both stand as strong, musically rich, and rewarding pieces of music that give a clear preview into the mind of one of the world’s greatest living artists, and for that they are excellent!
Barbara: As Minna and Josh mentioned, I do agree this album is totally different, in sound, time, and amount of tracks, as it is on its subject matters. The structure of Mr. Morale is of a double album, and it has a more personal focus; it is an exploration of his life and journey. On the other hand, GNX is a shorter album with a wider range of topics, such as his identity (even in the industry), competition, and also response to controversy.
Which song(s) stand out for you on the album, and why?
Minna: Upon first listen “squabble up” definitely stuck with me. I think this is partly because I wasn’t sure if Kendrick was going to ever release it after teasing it in the “Not Like Us” music video so I was mainly excited to hear the full track but it’s such a fun track with such a unique beat and flow. After sitting with the album “tv off” “man at the garden” and “dodger blue” are the ones that have been on repeat for me. “Man at the garden” is just one of those songs where you are holding onto Kendricks every word, it’s slower and darker sounding with more of a stripped back production which really has you intently listening to every bar, it leaves you a little haunted. “Tv off” is just so lively, like I bump that track every time I get in the car. Kendrick yelling “mustard” makes me laugh every time, the dramatic horns, comedic bars and well placed feature just makes it so fun! “Dodger blue” is just such a great r&b track which is a sound Kendrick doesn’t play with often so sonically it just immediately struck me as very special but I have to say I’m a bit bias since I just moved to LA and it’s the perfect song to cruise down the highways to while talking all things LA.
Adam: “Wacced Out Murals” is a monolithic opener, and lays the foundation for many of the key themes on the album. Lamar is usually at his best when he’s in full berserker mode, rapping for minutes on end and brain-dumping his thoughts. It makes you sit up and take notice. “Reincarnated” is one of the more experimental tracks, telling stories of past life regression and ending with an imagined conversation with his father.
The storytelling on “Heart Part 6” is beautifully reflective and sentimental, as is the final track Gloria. My personal favourite is “Luther,” a sweet and soulful collaboration with SZA, reminiscent of “Love” from DAMN. These calmer songs offer deftly-placed soothing moments amongst the fire and fury.
Josh: I agree that seeing “The Heart” series get another deft extension, 14 years after the project was initiated, is hugely satisfying. “Man at the Garden” is another one of my early favorites, as the way it shifts between delicate and vigorous is nothing short of startling. I really like “Dodger Blue” as well– just having a bunch of L.A. rappers kicking it together in the studio is awesome. But really, all of the songs on GNX are good– I’m quite satisfied with the consistency of this project.
Jake: “squabble up” and “tv off” are some of the best Kendrick Lamar songs ever. Period. “luther” and “hey now” are both fantastic as well. I love the variety in mood and dynamics in the performance of the album’s opening set of tracks. There’s an earworm-y quality that makes you want to repeat these songs over and over.
“reincarnated” is maybe the most fascinating song on the entire project. The concept of layering the stories of several generations of influential black artists through detailing their personal hardships and artistic feats adds an absolutely brilliant sense of depth to Kendrick’s art as a whole. It contextualized Kendrick’s personal burdens as a prominent black musician himself while simultaneously highlighting the cyclical nature of struggle that many artists of color have faced and overcome throughout history; it’s a little bit of a galaxy brain kind of moment on the album. Plus the instrumental slaps. All time great Kendrick moment, no question.
Barbara: There are three main songs that stand out in the album, if we’re talking about understanding it, and also noticing the use of other genres or voices in the album. First, “wacced out murals” begins with mariachi singer Deyra Barrera’s vocals, while paying tribute to Los Angeles’ Mexican roots. The song is responsible for opening up some of the main themes that are seen throughout the album, such as Lamar’s authenticity, pressure, and resilience. “Man at the garden” is a song that is more solid, serious, that centers itself on the lyrics, that combine his success, accomplishments, and aspirations. Finally, “reincarnated” is complex, a storyteller and a loud, energetic production that covers self-discovery, mistakes, and sin. This song also stands out as a tribute to the late Tupac Shakur, who is one of Kendrick’s favorite artists and influences.
Do you have any favorite lyrics so far? Which lines stand out?
Minna: I loved the shade in “Bitch I’m from the Land/ Don’t say you hate LA when you don’t travel past the 10” from “dodger blue,” I love a self referential line so “falling from my money tree, and it grown throughout the months” from “squabble up” was very memorable and this verse “Time flies, I’m carryin’ debates of a top five/ Buryin’ my opps and allies/ But I’d done a half job communicatin’ feelings of being stagnant/ Life was gettin’ bigger than just rappin’/ The business, what I was lackin’/ Top used to record me back when it was poor me/ And now we at the round table for what assures me/ I guess my motivation was the yearnin’ for independence/ Poured everything I had left in the family business/ Now it’s about Kendrick, I wanna evolve, place my skillset as a Black exec’” from “heart pt. 6” just hits like a truck. And one more while I’m at it “F* a double entendre, I want y’all to feel this shit/ Old soul, bitch I probably built them pyramids” on “wacced out murals” makes me giggle every time.
Adam: Kendrick Lamar is lauded for many things, but his tongue-in-cheek moments are often overlooked. His comments on beating L’il Wayne to the Superbowl half-time show, and that “Nas the only one to congratulate me” are pure sarcasm in the midst of a furious opening track.
Of course Drake takes many shots across GNX, being directly asked “Tell me how you deserve the greatest of all time, motherf*er” at one point, though there are many multi-layered references such as “You know the last one figured he was Magneto/You play God, you gon’ get what you ask for. We got the same twenty-four, what you mad for?/I put a square on his back like I’m Jack Dorsey”
In spite of this, on GNX I find myself drawn to the softer material – Lamar addresses his long-term partner with a mini love poem at one point:
“If this world was mine, I’d take your dreams and make them multiply
If this world was mine, I’d take your enemies in front of God
Introduce them to that light, hit them strictly with that fire”
His tenderness on Gloria is also a welcome respite at the end of a livid series of songs. Lamar talks about the early days of his relationship and recounts personal anecdotes:
“Remember when granny died? You looked at me and said, ‘Baby, dry your eyes. Depend on me as your relief, let your anger be mine.’ We was locked in ever since then, so territorial, even took me away from my friends”
Josh: Funny, Minna beat me to it – “Don’t say you hate LA when you don’t travel past the 10” is one of my favorite lines on this record as well! It’s just great to hear rappers stand up for their hometowns in any context– it reminds me of when Eminem did so with the similarly-sounding line, “Look at y’all runnin’ your mouth again when you ain’t seen a [friggin’] Mile Road south of 10!” in defense of Detroit. Plus, I really admire when rappers aren’t afraid to bear their emotional vulnerabilities on record, so hats off to this glorious excerpt from “Reincarnated”: “Every day, a new version of me, a third of me demented, cemented in pain, juggling the pros and cons of fame. I don’t know how to make friends, I’m a lonely soul.”
Jake: I legitimately can’t get the chorus of “squabble up, squabble up” out of my head. Such a bop.
“All I ever wanted was a black Grand National” goes so hard. There are plenty more great lyrics to count, no doubt.
Barbara: Many of the lyrics are interesting, but I was caught by the statement in the album’s first track: “The love and hate is definite without a cure.” In “man at the garden,” the lyrics “I deserve it all/ I see you as a human first/ Even when you didn’t understand your worth” and “Pray for those who prayed against me” refer to his principles and the reasons why, indeed, he deserves it all. The repetition of the “I deserve it all” is beyond boring, and sustains a story of a man and his claim for peace and success.
What do the various guest artists contribute to the record?
Minna: The SZA collabs were both phenomenal and I thought having that female voice in there alongside the Spanish samples was really lovely. Plus this morning they just announced their double headlining tour so I think it’ll be so fun to see those tracks live. One thing I love about Kendrick is he loves to collaborate with artists he thinks we should have our eyes on. I had never listened to dody6 or hitta j3 but I loved listening to their verses on this album. I think they each brought in their own lyrical and sonic versatility and I love when Kendrick trusts rappers with a verse on his tracks because it really showcases their full skillset and we get to see who to keep an eye out for. I will say None of the collabs were revolutionary or particularly memorable (unlike some of the collabs on another rap album that just dropped *cough cough* CHROMAKOPIA which I have to say those collabs were so memorable and just cannot be topped) but they were fun changes of pace.
Adam: With the exception of a couple of quality turns from SZA, the guests on this album play a background part to Lamar’s up-front and personal rapping – However Dody6’s verse at the end of “Hey Now” is bouncy and effervescent, with a tricky percussive delivery which lifts the song and complements Lamar’s multi-syllabic style.
Josh: I love me some SZA, and I agree with both of my peers that it was great to see her appear on not one, but two tracks here! This was especially fulfilling since (and I was a little surprised to confirm this when I looked it up) SZA actually hadn’t appeared as a guest on any of Kendrick’s LPs up until now, despite their many years together as Top Dawg Entertainment labelmates.
There were definitely some memorable collaborations with other rappers as well, with the quartet of Wallie the Sensei, Siete7x, Roddy Rich and K-Dot potentially taking the top prize. To me, it’s fine that not all of the guest MCs here are household names – there is a certain thrill in hearing some hungry and talented young rappers making the most of their chance to shine alongside a more famous performer.
Jake: Please stop me if this take is too hot, but I am not a fan of the album’s production. There’s something about the drum and cymbal sounds that throws my ear off. I think it’s apparent the production team was attempting to capture that ’90s/’00s rap drum machine sound, which works in theory, but I think the execution makes certain moments come across as brittle or without that necessary punch. I really try not to be the “but ohhhh, the mixing” guy when discussing these kinds of things, but, for an artist as intentional as Kendrick is, this strikes me as odd.
I don’t know enough about music production to state anything more specific than this, but I wonder if what I am hearing is a result of Jack Antonoff’s inclusion on the album. Sounwave has a proven track record of success with Kendrick’s music, but Antonoff’s production always reads to me as a bit uninspired, especially when he has partnered with some of my favorite artists in the past.
That being said, I think we can all agree that SZA is amazing; she and Kendrick are incredible together. But I think my favorite feature is the dody6 verse on “hey now” for its he awesome contrast to Kendrick’s energy. I like how the album uses a star studded cast while still very much highlighting Kendrick; it bolsters his GOAT claim.
Barbara: I agree with Adam’s comment on the various artists that participated on this album. Of course, Grammy-winning SZA caused commotion among the fans, also because she is part of two songs in the album. The incorporation of Mexican artist Deyra Barrera’s vocals was also an interesting and sensational choice. Collaborations with hitta j3, AzChike, Roddy Ricch, Siete7x, Peysoh, YoungThreat, Wallie the Sensei, Lefty Gunplay, and Dody6 either make us recall their own songs, some that rap and hip-hop listeners may already recognize, or are an introduction to their own style and texture that may be young and relatively new to the industry.
Lamar notably surprise-dropped this album with no warning. What do you make of this decision, and do you think it was right for this record?
Josh: I’m fine with it. At this point, having a major star surprise-drop an album is no longer the shocking game-changer it was when Beyoncé did so with her fifth LP back in 2013. Instead, by now I’m sort of like, “Well, if that’s how he decided to release this album, so be it.” I will say that it helps me build up on my answer that’s three questions higher– the manner in which GNX was released is a major contrast to the five years’ worth of anticipation to which Mr. Morale & the Big Steppers was subjected, which helps solidify my impression that Kendrick was keen on going in a distinctly different direction as he shifted from one LP to the next.
Minna: One thing about me is I love a surprise drop. I love watching the culture scramble to find hidden features, the meaning behind each bar, who produced what track, indirects etc. Kendrick has also been doing surprise drops all year so I think it’s just what he’s doing for this current era and I have no complaints, nothing beats panic texting your fellow rap loving friends insisting they listen to a new drop.
Adam: Kendrick Lamar is at a stage of his career where he not only can afford to experiment – He simply must do so. He’s already delivered multiple blockbuster albums and huge singles. There has to be more to it than just releasing 12 songs every two years. He’s at that enviable level, right at the top of the game, on a par with other megastars like Taylor Swift, where a surprise release is hype enough – There’s no need for a marketing push, because “The new Kendrick Lamar album” is sufficient to get millions of streams within hours of release. King Kunta, indeed.
Beyoncé kick-started the so-called Surprise Album Era around ten years back, and since then a number of artists have attempted similar projects – With varying degrees of success – So Lamar isn’t doing anything new at all. But there’s something about making the move now, contextualised with the Drake feud which makes this one special. In this day and age, anything behind the here and now is old news, so Lamar is making a real statement here by addressing the events of 2024 with such timing.
Jake: The surprise drop is, honestly, brilliant. While I still feel like at release this album felt like a heavy-handed victory lap, I actually think that fits the sentiment of the album perfectly. Kendrick caps off his 1st or 2nd most commercially successful year EVER (where he had initially only dropped a few songs to garner this level of success. Insane…) with a full album of hip hop hits to keep himself relevant in the zeitgeist. It very much feels like a game-winning hail mary play that is caught for the win. Doesn’t that fit the narrative for an all time great hip hop artist?
Barbara: This surprise was something that not only fit Lamar’s career and current music happenings, but it was actually a decision that suited the album. This album is many things, in general and mainly straightforward on certain topics as well as fresh and sincere, and having it come out unexpectedly showed his ability to innovate and evolve as one of music’s most renowned rappers. The, let’s say, relief and excitement that the surprise drop provoked might make the experience and this era of Lamar’s career distinctive.
Where do you feel GNX sits in the pantheon of Kendrick Lamar’s discography?
Josh: It’s probably somewhere in the middle for me, for now. It’s a great album, no doubt, but it’s just too hard for me to knock Good Kid, M.A.A.D City and To Pimp a Butterfly off their high-up perches right away. With further listens and the passage of time, we’ll see if I come to revise said stance.
Minna: It definitely sits in the middle of the ranks for me as well. Nothing beats Good Kid, M.A.A.D City and DAMN for me. I think GNX is a great sounding album and has some tracks with good bones but I haven’t had any tracks from this album stick with me the way “Backseat Freestyle,” “DNA,” or “The Blacker The Berry” did on previous albums.
Adam: I don’t think anyone’s saying it’s his best. There have been some lukewarm reviews from the more established outlets, and perhaps that’s fair on balance, but I believe the best artists release for a reason, and GNX has many reasons to exist. If you’re going purely by musical and lyrical content then GNX can’t touch Butterfly or GKMC, or hell even Mr. Morale, but that’d be missing the point. GNX is a personal artistic statement first and foremost, and when you consider that angle, it holds up. The ages will remember the big hitter records in 20 or 30 years, but GNX still has its place.
Jake: I hate to say it, because I really do enjoy GNX, but it is so hard to stack this against Kendrick’s early career run. To me, it felt like ‘Mr. Morale’ booted a sort of ‘Kendrick Phase II’ which, with the addition of GNX, is starting to become enjoyable in its own way. I appreciate the album for what it is and wouldn’t dare to call it anything but great.
Barbara: I truly think that there is just place to say that the album is great, another Lamar masterpiece that doesn’t necessarily have to find a first place, neither one that is insignificant. He has won many prizes and awards with his past albums and songs, and there is the cultural significance of Mr. Morale and good kid, m.A.A.d. city. Perhaps this album will be a reminder of his artistry and indisputable spot in music fame, no rank needed.
Where do you hope to see Kendrick Lamar head next after this project?
Minna: I think there are two types of artists in my mind, the ones you love because they make the genre of music you like and the ones you love because you like the way their brains work. Kendrick is an artist I respect and love for his artistry, lyricsm and musical vision. I never come into a Kendrick project knowing what to expect or hoping anything in particular, I’m along for the ride of whatever he’s sharing. Would I love some more RnB style stuff like he did in “dodger blue”? Sure. But will I be upset if not? Not at all. I love knowing that every album is something new and a little different.
Adam: I’m a real sucker for his jazzy side, and I loved the longform element to Mr Morale, so a double LP with some busy, band-led experimentation would be welcome, another curveball on a curveball after GNX. A full UK tour wouldn’t be a bad idea either…
Josh: My man is pushing 40 now! Is he still going to be doing a ton of rapping in the coming years? He’s more than earned his downtime if that’s what he ultimately elects, but I’d love to see him further experiment with all of his sonic resources, as Minna and Adam have suggested. “The GNX Tour,” U.K.-based or otherwise, would definitely be fantastic as well.
Jake: It’s clear Kendrick is gunning for the title of GOAT, and he may have just checked the ‘record sales’ and ‘popularity’ boxes off of his punch card. It’s clear that the thoughtful, meticulous, and innovative we have grown to love is not going to let the quality of his music dip anytime soon, so I can see myself being happy with whatever Kendrick comes up with next, no matter the artistic approach he takes.
Barbara: I am looking forward to his Super Bowl performance, for he has released new music since he sang last time with Dr. Dre and Snoop Dogg. Besides that, we’ll have to wait and see what else he releases, what other genre or theme experimentation occurs, and which new collaborations we may see, that will be attempts to get him even a little higher in the lists and records.
Does this album affect where you rank Kendrick Lamar on the list of all-time greatest rappers?
Minna: This question has made me realize that I don’t have my own personal ‘greatest rappers of all time’ ranking but maybe I should start one…
Adam: He’s undoubtedly the greatest of his generation, and one of the all-timers. Maybe it’s too early for the G.O.A.T conversation, but he’s right up there with the finest to ever do it. GNX won’t strengthen his key album legacy, but it will be a tale to tell for wizened old hip-hop heads in years to come. It certainly won’t detract from his status in any case – The man has won a Pulitzer!
Josh: Growing up, until roughly age 19 or 20, I tended to tell people that Eminem and Kanye West were my two favorite rappers. Ever since Kendrick Lamar blew up when I was in college, I’ve had to revise my answer and say, “Well, these are my Top Three.” Given that Kendrick was already ranked so high on my Top MC’s list, I wouldn’t say that GNX dramatically altered his position in my personal rankings, but it definitely helped to validate my impression of him as one of the very best to ever hold a mic. Hopefully, it’ll push him into/higher up on even more people’s Greatest of All Time lists.
To Adam’s query, I wouldn’t say that it’s too early for him to be in the G.O.A.T. conversation, given that he’s been around for well over a decade (longer than Biggie and Tupac’s careers combined, for instance) and has been subject to consistent critical acclaim throughout that time. His longevity and discography speaks for themselves– I’m fine with people who call him the Best Rapper Ever, Best Rapper Alive, etc. and I can’t imagine excluding him from the Top 10, at the very least.
Jake: If you asked me this question a week ago I might have said no, but after sitting with the album for a while, I think this album does bolster Kendrick’s already high level of credibility. I mean, what else can the man really do? He has star power, radio hits, Grammys, critical acclaim and, perhaps most important of all, longevity. Like J mentioned earlier, it is rare we are blessed with an artist as thoughtful as Kendrick is, and I believe we are not going to see a dip in quality in the man’s music for a long, long time.
Barbara: This album does not change how I view Lamar in relation to other rappers. I always felt his lyrics were strong, solid, and creative, and along with various experiments and beats, something he has again demonstrated in GNX, I believe the same. For the way he has talked about internal conflicts as well as some of society’s harsh conflicts, I had ranked him as one of the most important rappers of all time, and after this album I’d still say he deserves it.
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Stream: “squabble up” – Kendrick Lamar
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© pgLangGNX
an album by Kendrick Lamar
