Album Review: Megan Thee Stallion – Megan
3 min read
Megan thee Stallion’s self-titled album Megan has been one of the most awaited albums of the year. Coming fresh from her break with her record company, the album has been self funded and marks a major change of control in her career. Teasers for the album and the first three singles all feature snake imagery, and Megan described the theme of the album saying “just as a snake sheds its skin so we shed our past over and over again”. Following this the tracks on the album delve into her recent controversies and explores some of her most personal themes yet.
The spoken intro of Hiss makes the purpose of the beginning of the album clear, it is “to set the record straight”. The first three tracks all address her public feud with Nicki Minaj, a line in Figuero “I’m a brat, not a Barbie” referring to Minaj fans who are called “barbs”. Megan utilises her trademark repetitive drum lines and rapid breathless style of rapping to combine jabs at those who criticised her and references to her own success. Where The Girls At pulls the feud to a close, as Megan talks about how getting angry at her just gets her more attention. The repeated “where the girls at”, in the chorus building up others where the previous songs put them down.
Broke his heart changes the tone, with a more upbeat track. As Megan raps “broke his pockets broke his heart”. Its followed by B.A.S (feat Kyle Richh), is the first of many tracks on the album that have a featured artist. The duo work well, with both singing similar lyrics only changing the pronouns. “He’s lying to me and I’m lying to him” Megan sings as they talk about a mutually destructive relationship, giving the impression of both taking a side.
Otaku Hot Girl is the first of the two songs on the album with heavy Japanese influence. Throughout it Megan includes references to anime, something she has discussed being a fan of in the pass, and peppers Japanese phrases into her lyrics. Mamsuhi (feat Yuki Chiba) takes it a step further featuring full verses in Japanese, blending American and Japanese Rap and Hip-hop seamlessly.
Accent (feat GloRilla) sees Megan embracing her southern roots, singing about classic southern things like “double denim” and “popeyes” with Megan calling herself a “country bitch”. Spin (feat Victoria Monet) uses an interesting effect to make the backing sound as if its jumping between headphones when listen to that way. The production stands out from the repetitive drum lines and synth effects of many of the previous tracks.
Downstairs DJ and Worthy are both positive songs that bringing a lighter note to the end of the album. After the tumultuous relationships in the previous tracks Megan singing “faithful to myself cos I do myself right” and “worthy not worthless” feels like a break though. A cathartic realisation after hashing out the conflicts and competions.
This gives last two songs room to show perhaps the most vulnerability of any of Megan’s tracks. Moody Girl has a sadder sound and honestly discusses Megans struggle with loneliness, saying “in a room full of people I still feel lonely”. Cobra talks more about the isolating effects of fame and feeling like she’s being used for money, “as long as everyone paid everything ok”. They end the album at strangely low point, seeming to show that despite all the highs and lows she still ends up alone at the top.
The personal notes really make this album stand out from Megan thee Stallions previous catalogue, the shedding of her skin revealing her vulnerabilities and allowing her to show case her abilities as a rapper, song writer and hit-maker. With Hiss already debuting atop the billboard 100, making her the first female rapper to do so, it seems like the new Megan will likely reach new heights with this album. While some tracks certainly stand out more than others, as is inevitable with an 18 track album, the cohesive stylings and infectious lyricism makes it live up to the hype.
