Chorus: Drake, Parodied by Ben Brodsky, (21 Savage)

21, can you do something for me? (21) Can you do a collab album with me? (21) And 21, can you do something for me? (21, 21) Only rap on 26% of the collab album for me. Then 21 (21) I’ll unpack all my baggage, then I’ll put four solo songs (21), and then I’ll release my best album since 2015. (21)

The introduction to this review was my simulation of Drake versus 21 Savage’s share of their Nov. 4 collaboration, “Her Loss.” Although the king of Toronto hip-hop doesn’t explicitly proclaim this inequality on the first song, he quietly maintains the sentiment throughout the length of the LP. Both descendants of Southern hip-hop, Drake and 21 are among the most prominent of the subgenre’s sons. 

Compared to past eras of hip-hop, when regional feuds dominated the genre, there is largely a spirit of fraternity between the majority of 2020s rappers. Earlier, artists would mentor their protégés, marketing the future of their label’s talent on albums. Recently, as hip-hop has grown more commercial, mutual collaboration has become more common. However, as can be heard on “Her Loss,” these partnerships do not always benefit both artists equally. This inequality is the product of a theme in hip-hop: authenticity versus commerciality. 

Since his 2009 rise in the music industry as a rap artist with immense mainstream potential, Drake has barrelled into an upward spiral with no sign of stopping. His increasing popularity has had an inverse relationship with the quality of his releases; his mainstream appeal has diluted his once-novel style. Some question the moral and artistic implications of such abandonment, often disappointing critics and fans alike. 21 Savage’s authentic persona aids the attempts of “Her Loss,” supporting Drake with his thematic and cultural relevance.

21 has managed to preserve the quality of his music while finding commercial success. His secret seems to be a focus on the former, accepting the latter as a byproduct. He has remained a quality feature artist, with a similarly compelling personal discography. 21 and producer Metro Boomin’ teamed up on “Savage Mode II” (2020), an album narrated by actor Morgan Freeman. The album was 21’s best release to date: a thoroughly complex, fun and evolutionary project. 21 brings a similar spirit to “Her Loss.”

Courtesy of OVO Records.

“On BS” is an early highlight of the album, instilling the best of both artists into the track. 21 sounds like he never left the studio from “Savage Mode II” (2020), bringing a flow to the hook that slices and dices syllables with mystifying effect. Drake maintains the high energy into the heart of the song, applying intelligent lyrics and confident delivery. One of my favorite lines on the album, Drake raps, “Y’all be going in and out recessions the same way I be going in and out of Texas … or in and out of courtrooms, my lawyer’s like ‘objection.’” A standout line, he compares his presence in the Lone Star State to the volatile economy, which he then additionally compares to his notoriety in the form of legal battles. The “recession” mention was new territory for Drake; he continues to mention other current events throughout the album, to varying degrees of success.

Drake has discussed his love life in depth throughout his discography. On “Her Loss,” loyalty and romantic values are prioritized. He affirms his support for women’s rights with the line: “Damn, just turned on the news and seen that men who never got p—– in school are makin’ laws about what women can do.” Even if the bar is somewhat forced, the sentiment is true. A symbolic throwback to his beginnings, if Drake was still at Degrassi High, his fictional alma mater on “Degrassi,” he would now be a member of the Feminist Club. Drake continues to indicate that gender equality is a key ideal of his, rapping: “I’m a gentleman, I’m generous, I’ll spend a half a million on these hoes I’m a feminist.” While he claims, at times facetiously, to inculcate feminist ideals in the music, the values he embodies are not always of the highest precepts. This flippant delivery has been criticized, most notably for his commentary on artists Ice Spice and Megan Thee Stallion. However, as I dug deeper into the album’s narrative arc, I found that Drake seems to be playing a flawed protagonist, and 21 represents the devil on his shoulder.

“Middle of the Ocean” is the best song on “Her Life,” and it’s not because Drake sings beautifully, nor because he says anything new. Rather, the track is a standout because Drake reflects on his career and finds himself drifting. As he reminisces, he raps: “For your birthday, your man got a table at Hibachi. Last time I ate there, Wayne was doin’ numbers off the cup like Yahtzee … Quavo might’ve sent me a song that he called ‘Versace.’” This line is heartbreaking because of how Drake frames his nostalgic introspections. To arrive at true and valuable moments, he needs to degrade his former lover’s new partner, telling himself that no matter how much he loved her, it’s still “Her Loss.” 

I think of the Quavo mention, and how Takeoff, one of the three Migos, passed away recently. How, not too long ago, they were just trying to get a song with a Drake feature. All of our icons have grown up too fast. With the album, Drake dwells on his manhood, his career and where it all went wrong. He wants to appeal to a democracy of fans, expanding his voice to all of humanity. In striving toward this goal, he seems to have lost himself. All he leaves us with is a cry for help, betting that we’ve “never seen a thug cry,” and answering our concerns, concluding that he’s “not fine at all.”

Emory Wheel | + posts

Ben Brodsky (he/him) (25B) is from Scottsdale, Arizona. He has explored hip-hop history since 2019, first on his blog SHEESH hip hop, and now with “Hip Hop Heroes,” a series of essays on narrative in hip-hop. When not writing about Jay-Z, you can find him writing “Brodsky in Between,” an Opinion column on political nuance, graphic designing and playing basketball.