Offset, formerly a part of the legendary trap group Migos, has majorly influenced my music taste. Migos stood atop the globe at one point, altering the rap game with their triplet flow and timeless tracks. The heartbreaking death of Takeoff, a relative and member of Migos, and the beef that sparked between cousins Offset and Quavo led to the group disbanding. Now that he’s a solo musician, Offset plans to take over the game with his second studio album, “Set It Off.” His journey from the streets of Atlanta to superstardom has been nothing short of impressive.
The singles on this album demonstrate the variety that Offset brings to the table, as they are all distinguishable from one another. “Jealousy,” featuring Cardi B, has a catchy and hard-hitting rhythm with a classic Three 6 Mafia sample. Offset and Cardi go back and forth to advise haters in their business to mind it before they act on business, solidifying their romantic and musical chemistry. Cardi disses an influx of rappers and media personalities like JT of City Girls and Tasha K, who got sued for up to $4,000,000 for defamation.
I was not a fan of the song “Fan,” no pun intended. While the two beats utilized were amusing, Offset constructed tiresome bars regarding those who snaked him and even emulated Project Pat’s flow that has been used in contemporary rap songs like Drake’s “Knife Talk.”
“Worth It,” featuring Don Toliver, is a buttery mix of alternative R&B and hip-hop that gives me Afrobeats vibes. Don supplies an infectious chorus and velvety vocals about being heartbroken, but Offset’s flow and delivery leave me snoozing. Thankfully, his lyrics are on topic.
The final single, “Say My Grace,” featuring Travis Scott, is a vigorous trap banger where Offset reflects with God about the loss of family members and systemic racism in America. This song would be one of the best tracks on the album if Travis hadn’t spat such an apathetic verse.
The highs on the album are up to the sky. Offset only reinforces that he can release bangers and is one of the best trap rappers ever. Tracks like “Broad Day,” featuring Future, and “Fine As Can Be,” featuring Latto, are alluring. Offset has mastered mentioning his struggles and flexing on the world. The feature artists inject fresh perspectives into each song, elevating them to new heights. “Skyami” is another tune I want to note as the beat reminds me of Autumn! or Summrs, who create Pluggnb music known for wavering melodies and drums. I am also immensely impressed by Mango Foo, a rapper I have never heard of before being able to match a vibe with Offset.
The last two tracks, “Upside Down” and “Healthy,” are the most meaningful for Offset’s growth as an artist. I’ve been listening to the Migos for as long as I can remember, and I am shocked to see Offset crack at emotional topics since I am so used to him chatting about designer clothes and million-dollar homes. But you see him explain how he’s mentally not at his best with all the success he holds, going in-depth about this on “Upside Down.” In “Healthy,” he details how money and drugs don’t make him happy, but he knows that discussing it is necessary to improve. Other than these songs I spoke about deeply, other tracks like “Freaky,” “Buss My Watch,” “Blame It On Set” and “On the River” are respectable and add hype to the project, even if they may run a bit too long or have minor weird moments.
In contrast to the high-energy and exhilarating tracks that intrigued me earlier in the review, a notable collection of songs falls short of anticipation. They exhibit monotony, lackluster beats, and a scarcity of the dynamic character that makes the album gripping in the first place. Titles like “I’m On,” “Don’t You Lie” and “Big Dawg” are monotonic failures with no reason to be on a project that is supposed to show a fiery personality. The production of both adopts a deliberate tiredness, reminding me of the ASMR audios that I listen to help me fall asleep at night. While boring me is not as powerful of a bother, it’s harder to support Offset when he releases low performances of autotuned mumbo-jumbo or wanna-be Magic Mike pieces.
“Hop Out the Van” and “Dissolve” are hot garbage with the worst attempts at autotuned, falsetto vocals. The former is musically better because the beat has cool drums, similar to a marching band. The latter makes me ill, since the concept of a dissolving pill concerning a happy-go-lucky romantic relationship is cringeworthy and lacks common sense. It is a despicable excuse for a love song, and I will never listen to it again.
Don’t get me started with Offset trying to sound sexual on “Princess Cut,” featuring Chloe. I know how common it is for rappers to talk about intimacy in their music, but Offset is the worst person to ask if you want a genuinely intimate song, especially for something over four minutes long. Chloe does not help because her verse worsens the blow with her speedy rapping. Sure, she can sing, but she can do better.
Overall, Offset’s “Set It Off” is a solid addition to his discography, showcasing his ability to deliver hard-hitting trap tracks with a range of features that elevate the project. While the lows of the album, such as the lackluster beats and disappointing autotuned vocals, are present, the highs are soaring and demonstrate his growth as an artist. Fans of Offset and trap rap should give this album an open-minded listen, as it provides a glimpse into the future of rap, even if the beloved trio of Migos can’t share the spotlight with him.
