While newer production tricks add some kick to DaBaby's formula, stagnant lyrics and monotonous flows present him as an artist unwilling to change swamped by slushy imitations of his best work, the gems on Kirk aren't given the platform to shine. Despite the singular brilliance of "Intro" (and some standout bangers in "Toes," "There He Go," and "XXL"), most of the project falls into mediocrity. Amid descriptions of his mother's battle with cancer and his own internalized misery, he reflects on the death of his father with the cutting "How the f*ck I make it to the top, same day I lost the n*gga that had me?" But one stellar track does not a stellar album make. Yet we often see Baby struggle to sustain Kirk's longer tracks recycled flows and repetitive lyrics drain the life from "Bop" and "Raw Shit" in particular.ĭespite Kirk's reliance on repetition, there is one utterly unique track here: "Intro." Discarding Baby's blanket braggadocio and style, the song is his most personal work to date. Given the right production, Baby's charisma can carry them forward, with "Toes" and "There He Go" landing firmly in the upper ranks of his catalog. Of course, a DaBaby release comes with a certain set of lyrical staples: charismatic boasts come with reassuring regularity, and there are enough "jit"s and "ain't no cap in my rap"s to bring the record back home. The bass on "Off the Rip" is painfully bland, and the strings of "Prolly Heard" have been far better employed on tracks like Gunna's "Who You Foolin" and Higher Brothers' "Wudidong." 'Taking It Out' would have lacked oomph without its breakneck-paced production, while the piano-like warbles of 'Gorilla Glu' lent it a. DaBaby s best material has typically been scored by bouncy, electronic-led loops. While production is certainly one of the project's stronger points, missteps are equally frequent. Despite adding some newfound perks to Baby s production, the albums rehashed lyrics and flows give Kirk an air of stagnation.
Along with expressive pianos on "Gospel" and a club-inspired bounce on "Really," eighth track "Toes" treats us to some Wild West-inspired trap. Though we see this mimicked to varying degrees of success in Kirk's "Vibez" and "Raw Shit," there's some refreshing variation, too. "Taking It Out" would have lacked oomph without its breakneck-paced production, while the piano-like warbles of "Gorilla Glu" lent it a menacing swagger.
DaBaby's best material has typically been scored by bouncy, electronic-led loops.
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