The Xbox and PlayStation both have dedicated Spotify apps, but the Nintendo Switch doesn’t. What gives? Why is there no Switch Spotify app?
When the Switch launched in 2017, many people were wary of the device. Nintendo’s previous console – the Wii U, had drastically undersold and is one of Nintendo’s worst-selling consoles to-date. The gaming world wasn’t sure if this new device that is both a console and a portable would be appealing.
Fans took to Spotify immediately to ask for a Switch Spotify app. The community page asking for a dedicated app was posted just a month after the Switch launched. Since then, the idea has garnered over 11,000 votes in its two and a half years as an idea. Spotify finally responded this month.
“Hey folks, Spotify staff here.
We’re always working on improving the Spotify experience across platforms, but we don’t have any further information to share at the moment. It should also be noted that we typically don’t announce integrations with third parties in advance.
Thanks for continuing to share your ideas.”
While the statement doesn’t rule out an app, it does seem to effectively kill hope for now. Spotify’s decision may seem biased, but I’d argue the Switch isn’t a great platform for a dedicated music app.
The Nintendo Switch does not feature Bluetooth audio support without an attachment. You also can’t play music in the background since the Switch closes everything but the game running. Both Xbox and PlayStation consoles offer background playback and apps there make sense.
The cross-section of people who own a Nintendo Switch but don’t also have a smartphone is effectively nil.
So while it might be ‘nice’ for Spotify to have a Switch app, there’s not a whole lot of value provided for a lot of work. Perhaps on the next hardware iteration of the Switch, Nintendo will re-think its Bluetooth audio support.
At the beginning this season, there were a ton questions surrounding LeBron James and whether or not he could continue to be the player he’s proven himself to be over the last 16 years. Some felt like he wouldn’t be able to dunk while others thought his defensive play would take a serious hit. So far, LeBron has been able to shut up all his critics and has led the Los Angeles Lakers to a staggering 21-3 record. The Lakers look poised to make a championship run and with LeBron and Anthony Davis at the helm, the Lakers are better than ever.
After defeating the Minnesota Timberwolves on Sunday night, LeBron took to Instagram with a video one his dunks. Once again, James came through with a sarcastic caption about how he is washed up and can’t play the game like he used to.
“Meet me at the top floor cause I can’t get there anymore they say. Not a good decision to listen to what “THEY” say,” James wrote. His Lakers teammate Dwight Howard echoed these sentiments by saying “U want some too old man. No. Cmon son. I told u bout coming over here messing with these folks.”
Based on the way the Lakers are playing, it’s hard to bet against LeBron right now. He’s one the greatest players ever and deserves to be respected as such.
In a clip from Jimmy Kimmel Live! posted on Wednesday, Tom tells the story how he was involved in a drunken phone call with Bob in which they discussed the future the Spider-Man character. After Tom emailed Bob to tell him “Thank you for changing my life in the best way, and I hope that we can work together in the future,” Bob asked Tom when he was free to chat over the phone. Tom said “whenever,” and Bob proceeded to call him a few days later while he was already “three pints in” at a pub tri night. “I get a phone call from an unknown number,” he explains to Jimmy, “and I have a feeling like, I think this is Bob Iger…but I’m drunk.” Regardless, he answered, and Tom shares that he got “really emotional,” even weeping, because he felt like “it was all coming to an end.” Well, jokes on you, drunk Tom from the past: it wasn’t! At some point during the call, Bob told Tom that there was “a world in where we could make this work.” The phone call lead to more phone calls and ultimately, the negotiation was made. Jimmy says to Tom at the end the interview, “I’m really glad you got drunk and got on the phone with Bob Iger.” Same, Jimmy. Same.
When it comes to artists and social media, not many utilize the tool better than Lil Nas X. The young artist is experiencing the strongest year his career, absolutely breaking out with his hit single “Old Town Road.” The song has earned him a number Grammy Award nominations, still serving as one the most popular tunes the entire year. LNX took over the world and, when he announced his uality to his fans, he started getting even more love. The record-breaking rapper is no stranger to trolling himself and, now that the Spotify Wrapped lists are taking over the internet, he decided to have some fun with the template, joking about his own success.
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Referring to himself as “The Horse N***a,” Lil Nas X joked about his industry domination by making up his own statistics, which very well could have been accurate. At the top the year, it felt like “Old Town Road” was getting played everywhere so “like 12 billion” streams isn’t exactly out the ordinary. In terms listeners, Nas didn’t feel like calculating the total number folks who tuned in, leaving that as “a lot, on god.” Where the number countries is written, LNX just noted “swag lol” as his answer.
Are you a fan this buzzing artist? Do you think he’ll continue his strong success in 2020?
An ordinary flight turned into a reunion on Friday for Rihanna and Paul McCartney. The musicians were enjoying a first-class trip when they realized that they were on the same flight, and RiRi, like a true fan and friend, couldn’t let the moment pass without filming McCartney visiting her at her seat.
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“I’m about to put you on blast Mr. McCartney,” Rihanna said as she films the Beatles icon. He jokingly responds, “Who is this filming me?” Rihanna replied while laughing, “Who is this peasant filming this legend?” Back in 2015, Rihanna and McCartney linked up with Kanye West to collaborate on their folksy-pop hit “FourFiveSeconds.” The song would later go on to be included on various publications’ top tracks 2015 lists, and the trio artists would even take to the Grammy Awards stage to perform together. However, “FourFiveSeconds” failed to earn any nominations its own.
McCartney previously told DIY how “FourFiveSeconds” came about. “We ended up just talking a lot,” he said. “I played a few little things and one them ended up as ‘FourFiveSeconds’ with Rihanna. It’s more a question me feeling lucky that these people are interested in working with me] and think that I can bring something to it. For me, I feel great. I like diversity.” Watch Rihanna and McCartney have a brief reunion and reminisce on “FourFiveSeconds” by watching the music video for the song below.
The most popular concert tickets, tour stops, and artists around the country, based on SeatGeek data through Wednesday, November 27th.
Welcome to our weekly report on the world of live music, based on exclusive data from SeatGeek, a ticketing platform that enables fans to buy and sell tickets for sports, concert, and theater events. Read on for insights into the most popular artists and festivals from the prior and upcoming weeks.
Most Popular Artists and Festivals
Past Week, Based on SeatGeek Web Traffic
1. Post Malone (Rank last week: 2)
After a strong showing at Posty Fest earlier this month, rapper Post Malone is as on top of his game as he’s ever been. You can catch him on the 2020 leg of his “Runaway Tour” starting in February.
2. Harry Styles (Rank last week: 1)
After a stellar SNL performance, the announcement of a new solo album, and now an upcoming world tour, Harry Styles is back in the spotlight. You can see him live at next year’s “Love On Tour,” with Jenny Lewis on tap as opener.
3. Luke Combs (Rank last week: 1)
Luke Combs is still on the road for his “Beer Never Broke My Heart Tour,” but he also made waves last month with the announcement of the “What You See is What You Get Tour” slated for 2020. Combs also dropped the official What You See is What You Get album earlier this month.
4. Billie Eilish (Rank last week: 5)
Unless you’re planning on attending one of the two Jingle Ball concerts Billie Eilish will be performing at this winter, fans will have to wait until spring of 2020 to catch her live. Her “Where Do We Go? World Tour” will kick off in March 9 in Miami at the American Airlines Arena.
5. Bad Bunny (Rank last week: 4)
Bad Bunny is in the midst of his new “X 100Pre Tour” dates, which will see the Latin superstar throughout parts of the South, Southwest and East Coast. Fans living in the Chicago area will get a taste of the musician when he performs at the Allstate Arena this weekend.
Past Week, Based on the Percent Increase in SeatGeek Web Traffic
1. Reba McEntire 409%
Country icon Reba McEntire is hitting the road next year for a late spring. Catch her starting March 20 in Evansville, IN and wrapping up on May 9 in Grand Rapids, MI. She’ll perform heavily throughout the Midwest.
2. Lil Mosey 170%
Young up-and-coming rapper Lil Mosey will tour next year. The 17-year-old Seattle native has just announced dates throughout Europe, including shows in Cardiff, Manchester and London. The performances are part of his “Certified Hitmaker Tour.”
3. Snoh Aalegra: 164%
Eclectic singer/songwriter Snoh Aalegra is nearing the end of her current tour. The Oh Those Feels Again singer is performing a sold-out show at the Center Stage in Atlanta on Saturday, and the Wiltern in Los Angeles the following week.
4. Bruno Mars: 137%
Bruno Mars has just announced another round of Las Vegas shows for 2020. The residency will take place at the MGM Park Theater, and runs from March 6 to April 25 with five total shows. They mark Mars’ first confirmed live performances of the year.
5. Dan Shay: 130%
Country duo Dan Shay were in the spotlight over the weekend. The pair took the stage on Sunday at the American Music Awards to accept the award for Favorite Country Song. Their single “Speechless” has dominated the radio over the past year–fans can only hope to catch them live in 2020.
Bad Bunny tops our list this week, as his “X 100Pre Tour” makes it way across North America. Fans can catch him this weekend, first at the Toyota Center in Houston and then at the Allstate Arena in Rosemont, IL outside Chicago. The Jonas Brothers are still chugging along on the “Happiness Begins Tour,” which sees them along the East Coast over the holiday weekend. Namely, folks living near Atlantic City or Baltimore will have the chance to see them in the flesh when they perform at the Boardwalk Hall and Royal Farms Arena, respectively.
Celine Dion’s “Courageous Tour” will take her to the United Center in Chicago on December 1, meanwhile the equally iconic Cher is slated to perform at Madison Square Garden just two days later. The epic Jingle Ball will kick off next week, with a stop in Fort Worth, TX at the Dickies Arena.
The Macy’s Parade always attracts some the biggest stars in the world as people tune in on Thanksgiving. Today, there were some pretty prominent figures who were on the premises but no one left as big an impression as Al Roker. He was sent to cover the parade from the grounds and attracted all sorts festive folks. However, there was one moment that has brought the internet to shambles.
Al Roker was handling his business, approaching some the people on the grounds such as police ficers and people involved in the parade. That’s when a man dressed as a stick butter saw an opportunity for a come-up. While Roker was doing his thing, the butter man approached him in an attempt to get a few seconds on camera but Al Roker was not having it at all. Roker essentially told him to “f*ck f” very politely but the way he did it had the internet cackling. “I hate to butter you up but you gotta move on,” he said as the man attempted to wish the world a “happy butter Thanksgiving.” “Oh, get out here, you butter,” he replied.
That wasn’t the end it. The butter man decided to chase down Roker on his motorcade to get in a word. Although committed to the cause, Roker simply referred to him as a clown.
P.S. we don’t know why he was wearing a helmet during the entirety the coverage, either.
Popping on on Reginae Carter’s live-stream the other day, Young King Osiris went into his bag tricks and flirted heavy with the celebrity in the comments. In a screen capture by The Shade Room, the singer can be seen shooting his shot at Lil Wayne‘s daughter, perhaps crossing his fingers that she sees the posts and gives him a chance. “The baddest in the game,” wrote Osiris before doubling up with a second remark. “She so fine I swear.”
Jacquees has announced dates for his “King of R&B Tour.” The 30-date trek kicks off Jan. 17 in San Antonio and travels across the U.S. and Canada, with stops in Dallas, San Francisco, Los Angeles, Minneapolis, Chicago, Toronto, and New York before wrapping March 5 in Atlanta.
The tour comes in support of Jacquees’ album of the same name, which features collaborations with T.I., Tory Lanez, Quavo, Future, Gunna, and Summer Walker. The project debuted at No. 20 on the Billboard 200.
Tickets go on sale Friday, Nov. 29 at 10 a.m. local time. See an itinerary below.
King of R&B Tour Dates
Jan. 17 – San Antonio, TX – Aztec Theatre
Jan. 19 – Dallas, TX – House of Blues
Jan. 20 – Houston, TX – House of Blues
Jan. 23 – Santa Ana, CA – The Observatory
Jan. 24 – San Francisco, CA – The Masonic
Jan. 25 – San Diego, CA – House of Blues
Jan. 26 – Los Angeles, CA – The Wiltern
Jan. 27 – Sacramento, CA – Ace of Spades
Jan. 29 – Seattle, WA – Moore Theatre
Jan. 31 – Salt Lake City, UT – The Complex
Feb. 1 – Denver, CO – Cervantes Masterpiece Ballroom
Feb. 4 – Sioux Falls, SD – The District
Feb. 5 – Omaha, NE – Sokol Hall
Feb. 6 – Minneapolis, MN – Varsity Theater
Feb. 8 – Grand Rapids, MI – Elevation @ The Intersection
Feb. 9 – Chicago, IL – House of Blues
Feb. 10 – Cleveland, OH – House of Blues
Feb. 11 – Louisville, KY – Mercury Ballroom
Feb. 12 – Toronto, Canada – The Phoenix Concert Theatre
Feb. 14 – Norfolk, VA – The Norva
Feb. 18 – New York, NY – Kings Theatre
Feb. 19 – Toronto, Canada – Danforth Music Hall
Feb. 20 – Boston, MA – House of Blues
Feb. 21 – Washington, DC – The Fillmore
Feb. 22 – Rochester, NY – Water Street Music Hall
Feb. 23 – Philadelphia, PA – The Fillmore Philadelphia
Feb. 24 – Pittsburgh, PA – Rex Theatre
Feb. 28 – Fort Lauderdale, FL – Revolution Live
Mar. 1 – Charlotte, NC – The Fillmore Charlotte
Mar. 3 – Raleigh, NC – The Ritz
Mar. 5 – Atlanta, GA – The Fox Theatre
Omarion officially announced The Millennium Tour 2020 on Tuesday (November 26) — which just happens to be Lil Fizz’s 33rd birthday.
For those wondering why that’s of note, Fizz is currently dating Omarion’s ex-fiancée and mother of his child Apryl Jones. Consequently, B2K isn’t performing on the tour, presumably because the relationship between Omarion and Fizz is irreparable.
Nonetheless, Jones celebrated her boo’s birthday on Instagram — apparently offending Joe Budden in the process.
Apryl Jones and Lil Fizz have been the talk the town for the last few weeks as people reacted to their coupling that they did a horrible job at hiding. The drama was surrounded by the fact that Lil Fizz is Omarion‘s B2K band member and Apryl is Omarion’s ex and baby mother. Now that things have settled down and Omarion has made it clear that he doesn’t care, Apryl and Lil Fizz can continue their romance in peace.
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Today marks Fizz’s 36th birthday and in light the special 24-hours, Apryl has posted a cute image her and her man with a sweet caption.
“First let me say Happy Born Day to one my favorite human beings on this planet! I’m blessed to have you in my life. There are very few genuine and real people who actually are who they say they are,” she wrote. “You’re a straight shooter, and that’s what I adore about you! Always sticking to your words, with actions!!! You deserve everything and more in this lifetime!!! I got you always! No matter what my G!!! ❤️❤️ Love you much…Now time to turn up…old folk style lmao;).”
Depending on who you ask, Logic can represent a number things. To some, he’s an artist that merits the highest degree praise for his inventiveness and commitment to his vision. For others, Sir Robert Bryson Hall III is either “corny” enough to be vilified or has just retreated from hip-hop’s foreground to cater to his target audience alone. Whatever way you square it, the MC is in the midst a massive tour across America and is granting a lucrative platform to J.I.D and YBN Cordae by bringing them along for the ride.
Set to voyage to Australia straight afterwards, this demonstrable ability to still sell out arenas at a whim suggests that he remains unimpeachable in the eyes Rattpack affiliates across the world. After all, while his career may have experienced ebbs and flows, his carefully honed capacity to rhyme at a virtuosic level has remained intact.
And what’s more, he’s gearing up to go back to his roots.
Among those who’ve grown weary recent work, there’s been a lingering hope that he’d exhume the spirit the records that put him on the map and get back to that headspace. Now, he’s wilfully returning to it.
As alluded to with the “No Pressure Freestyle,” Logic corroborated all the forum speculation during a trip to the Tiny Meat Gang Podcast studio. “I just did a song the other day called ‘Not Right Now.’ It’s pretty dope,” he said. “I was writing it because I’ve been working on an album right now which is a sequel to my first album, Under Pressure, and it talks about a lot really dope shit on it.”
Although there’s no documented timeline for its release as yet, his recent rate productivity would suggest that we may well get the tentatively titled No Pressure in 2020.
In the meantime, we’ve decided to use the downtime to retrace Bobby Tarantino’s steps and rank his albums accordingly.
Before we get underway, it’s important to clarify that this is an appraisal major studio projects, not mixtapes. Prolific as he’s been in that area over the years, that would could merit its own investigation. With the legwork out the way, let’s begin our voyage into the varied and eclectically-curated catalogue the Maryland MC.
6. Supermarket (2019)
When Logic announced that he’d penned a novel, the response was a lot less quizzical than it would be if almost any other rapper decided to do so. His well-documented penchant for wordplay and incorporating gradually unfolding stories into his records notwithstanding, Bobby had previously discussed bringing the written word to life through a comedy he’d created with Judd Apatow. Proposed as “Clerks for a new generation,” it’s fitting that his first novel, Supermarket, would also be closely tied to the world customer service. Far from being viewed as some untalented interloper, the literary realm welcomed him with open arms.
Eager to be viewed as a renaissance man, Logic soon transplanted the New York Times bestselling book’s narrative into the musical realm.
“I was at my old house and making these songs about love”, he told The New York Times. “I was feeling kind lonely, and I realized that is also how the protagonist] Flynn felt it kind hit me like, I want to do more than just rap. These were songs that almost would have never come out because I would have been too scared. But I think that fear is a good thing.”
Empowering as the experience may have been for him, Supermarket’s corresponding soundtrack has its fair share missteps. Released in March 2019, the album’s genre-bending sound is not as wholly irredeemable as some may have suggested but it’s certainly not a triumph either. For every gaudy mess like “Bohemian Trapsody” or the misguided hybrid piano balladry and Biz Markie that is “Baby,” there’s bright spots worth sifting through for such as the Mac Demarco-aided “Probably Gonna Rock Your World” that lands somewhere between Neptunes-era Pharrell at his most lo-fi and the latter-day disco experiments Tame Impala. A project that would’ve been better as a 4 track EP than the sprawling 49 minutes that materialized, there’s nothing to say that Logic has to pigeonhole himself to succeed, but the good outweighs the bad on this occasion.
5. Confessions Of A Dangerous Mind (2019)
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Committed to wearing his heart on his sleeve for better or worse, Logic has made no secret his contemptuous relationship with the public’s opinion. Festering on his brain, the rapper has raised his concerns in countless interviews, going so far as to seek J. Cole’s guidance on the matter. Rather than heeding any advice, Logic funneled his misgivings about trolling and tweeting into his material and it soon became one the focal points 2019’s Confessions Of A Dangerous Mind.
“It’s a place where people want to say hurtful things whether you’re famous or not or this and that and bully you…and it has even made me sad,” he confessed to Hollywood Life before the record’s release. “Imagine thousands people are talking trash about you right now. That is kind a sad thing. So, I talk about where we are and where we are headed and where hopefully we can end up… there is some dope ass raps on there too.”
Intrinsically linked to social media and its perception him, the record saw Logic come out swinging. Fuelled by an innate need to prove himself and silence the critics, Logic seemed to pull out every trick in the bag on this project, switching up flows, tampering with melody and proving his priciency when it comes to rapping over just about anything. And yet, there was an inescapable sense that, while playing host to a few great ferings, it somehow fell short the mark.
Coming out the gate with authority, Logic broaches the pejoratives that are thrown his way and the toll they take on his psyche throughout the title track, “Wannabe” and “Clickbait,” venomously spitting “I’m a motherfuckin’ hypebeast, I ain’t black in the slight least, I ain’t good enough, I should quit, I should kill myself (Kill myself), ‘Cause “you’ll never be Kenny”, You’ll never be better than Drizzy or Cole, You’re losing your hair, you’re too fucking old.”
Then, away from the self-flagellation, he re-emerges with a pep in his step and renewed confidence at a rate that seems abrupt. Expressed most notably on the Andre Hotbox & J.LBS produced “Out Of Sight” and “Pardon My Ego,” the preceding track does a fine job displaying the ingenuity that will allow him to meld his rhymes round any given sonic footprint while the latter does little to parry the persistent allegations biting Drake.
A dizzying mix between counting his blessings and lamenting over how the public’s patience for him has waned, Confessions Of A Dangerous Mind’s main issues arise from the exhaustive rehashing these two themes and the lingering lack focus it breeds.
As a result, genuine highlights such as the immersive groove “Keanu Reeves” and the lyrical marathon the Shady-aided “Homicide” are sold short by poorly crafted collaborations with Will Smith and Gucci Mane that only add to the disjointed feel the project. An album two halves that refuse to be welded together, his latest album sees Logic trying on different narratives and struggling to work out which one he feels at home in.
4. Everybody (2017)
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Owing a deep debt gratitude to Andy Weir— best known for The Martian that’d later be adapted for the big screen— and his short story The Egg, the concept behind Logic’s third studio project Everybody soon grew arms and legs. Based around a revelatory dialogue between “you” and God that takes place after your current life has elapsed, Weir’s acclaimed short story does a great job driving home the commonalities in the human experience through the ages and the cosmic ties that bind:
Spanning 70-plus minutes, Everybody ten seems like a concerted effort to live up to the prundities the source material. Beyond that, there’s a sense that he was trying to not only position himself as a unifier in hip-hop but somehow mend the rifts society. During 13 tracks that veer between the sublime to the ham-fisted, Logic fixates on the shared pitfalls that we all endure in life with varied results. Swathed in luscious production, he throws caution to the wind and enters the pantheon gospel during “Hallelujah” before dabbling with Chicago-house piano stabs on “Confess” alongside powerful oration from Killer Mike. On the flipside, there are times in which his mission statement bridging the gaps between us all emerges through tired rhetoric rather than quality work. And, in a moment that he’s arguably never recovered from, Everybody is the record where he stepped into the internet-dictated beartrap memes through the recurring allusions to his biracial status.
Inspired by looking “at where we are in the world” and “realizing that millions people listen to my voice,” his noble intentions couldn’t compensate for the shortcomings in his expression, with the use iconic hip-hop dissidents like Chuck D and Black Thought on “America” only exacerbating that perception.
By no means shy phenomenal tracks such as “1-8000-273-8255,” the Ansel Elgort-featuring “Killing Spree” and “Black Spiderman,” there’s plenty to lavish praise on here. However, its transparency in trying to be a socially-conscious classic in the vein To Pimp A Butterfly or Black On Both Sides is exactly what prevented it from entering that realm.
3. Young Sinatra IV (2018)
At the tail end Everybody, a comment from one The Aquarius III’s Quentin Thomas— more on that later— from “AfricaAryan” suggested that his fourth record would be his swan song. But as we know, this was far from the case and in reality, it was a bait-and-switch that ignited the excitement that surrounded Young Sinatra IV. Transferring the series from mixtapes to ficial canon, the record arrived in the wake a side project that rekindled his love for rhyming for the fun it on Bobby Tarantino II. After harnessing that outlook, Young Sinatra IV eschews the conceptual ligature that he’d been entrapped by on recent albums in favour doing what he does best: spitting.
The project sees Logic stick to one preconceived direction and carry it through with skill. A love letter to the East Coast’s 90’s golden age, Logic takes its tenets and repurposes them for his own, vastly more upbeat means. Free to demonstrate his lyrical prowess without worrying about how it fits into the thematic concern the record, YSIV features many his best punchlines in years on tracks like “One Day” and the frenetically paced “100 Miles & Runnin” before the nostalgic tone the record drives home his incisive and cutting remarks about the state the industry on “The Return” :
“Back then I thought I’d be defined by how good I rhyme. Not like these rappers with shit flows, but look good online. Not made to feel bad for speakin’ bout this shit on my mind.”
Bolstered by guest spots from frequent collaborators such as Big Lenbo and British folk songstress Lucy Rose and less commonplace names such as Jaden Smith on “ICONIC” as well as Wale, Haillie Stansfield & Ryan Tedder, let’s not forget to give credit where it’s due for reassembling all the remaining Killa Beez for a full-scale celebration Staten Island’s finest on “Wu Tang Forever.”
Although it may not be some seminal project that moulded hip-hop in his own image, Young Sinatra IV reiterated everything that Logic is great.
2. The Incredible True Story (2015)
Aside from Clipping’s incredible, Polaris Prize-winning Splendor & Misery or the technicolour world Ishmael Butler’s Shabazz Palaces, sci-fi and hip-hop are two worlds that ten seem incompatible. Save for Kendrick Lamar and Janelle Monae’s occasional leanings towards afro-futurism, the concept becomes even harder to stomach from artists in the mainstream. Yet for Logic, the birth the daring, space-travelling odyssey known as The Incredible True Story all arose from a matter self-acceptance.
“When I let all that shit go, and was like, I’m an anime nerd—a] sci-fi loving, film-going motherfucker,” he told The Fader, “that completely changed how open I was as far as lyrical content, for sure.”
By doing so on his sophomore project, Logic took risks that paid f. Lovingly co-produced by his tenured partner-in-crime 6ix, the record brims with the optimism a man that knows he has something special to unveil.
Everyone remembers the first time they heard that panoramic opener “Contact.” Exuding grandeur and with ambition to spare, its triumphant strings give the sense delving into something timeless while the dialogue between the occupants The Aquarius III spacecraft is fleshed out with sonic textures that make you really feel as though you’re orbiting above the remains the earth and listening to captain Quentin Thomas and William Kai discussing where it all went wrong.
Following the plight the spaceship’s crew on their journey to Paradise, his knack for linear storytelling is very apparent and takes skits from the superfluity many records from the past into an actual plot device.
Merging a highfalutin concept about earth’s extinction through genetically engineered meat and nuclear war with radio-ready singles. “Fade Away” sees him in contemplative form, eking out a frank portrayal his outlook on life before “Like Whoa” cranks up the voltage with its joyously simplistic hook and flirtation with latin rhythms. Beyond that, Bobby places his own spin on that iconic ESG sample and delivers on “Young Jesus” before harking back to jazz-rap on the meticulously crafted “Innermission” with British songstress Lucy Rose.
For fans Logic’s lightning quick flow and overall demeanour, there’s plenty to love about the record, including some the most vivid production work his entire career. Yet with all this taken into account, it still couldn’t overthrow the gem that glistens brighter than all others in his catalogue.
1. Under Pressure (2014)
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It’s an old cliché that artists struggle to top their debut, but it’s one that rings true in Logic’s case. Where artists have allowances two years to map out what they want to do with the follow-up, they have a lifetime to ruminate on their first grand statement to the world. And in Robert Hall III’s case, what a lifetime it had been. Abandoned by his drug-addled father and treated with begrudging indifference by his alcoholic mother, the streets Maryland threatened to consume him until he finally found his salvation in music. After bubbling on the underground and inking a multi-record deal with Def Jam, the Visionary Music Group artist had the expectant eyes the world on him as we awaited his debut studio album.
As for the direction he wished to take, Logic’s intentions were straightforward and congruent with the way he carried himself five long years ago:
“Instead doing the radio route… I wanted everybody to know Logic is a spitter, he respects and loves hip-hop, and he’s a student the game.”
Under Pressure is Logic’s most autobiographical record in a way that doesn’t grasp for wider social implications, instead opting to tell his own story with an endearing candidness.
Reflective in tone, its title track takes a birds-eye view at his road from squalor to success while ferings such as the beautifully arranged “Growing Pains III” and the smooth “Buried Alive” zoom in on the hardship and explore how he scrambled to the surface. Purposefully free from any high-powered features that’d distract from his story, he tackles his over reliance on cigarettes within a light veneer metaphorical language during “Nikki” before grasping the opportunities that he’s been given on album highpoint “Soul Food.”
Constantly flitting between turmoil and triumph, it makes the sudden disdain for his sentimental tendencies difficult to comprehend when this record proves they were there from the outset. Not to mention his overt cribbing from other artists that has led to countless accusations biting:
“I wear my inspirations on my sleeve,” he told Complex prior to the record’s release. “It’s so weird to me that it’s OK to take something from Nas’ Illmatic because that was 20 years ago, but you can’t take something from Drake. Don’t get me wrong, there’s a difference between taking exact words, but I’m just very open with it.”
A poetic masterclass that built upon the industry’s working knowledge Logic and what he’d set out to accomplish from his earliest mixtapes, Under Pressure is the most robust picture why he still captivates audiences, and its tracks have aged with an unexpected grace. Still boasting replay value after all these years, the album remains the gold standard for Bobby Tarantino and makes the concept a sequel all the more tantalizing.