Megan Thee Stallion's 'Traumazine' is a reminder there’s a human on the other side of the headlines. Read CraigSJ's review
Photo: Megan Thee Stallion/YouTube Pressure makes diamonds, and Megan Thee Stallion’s mountain range of triumphs and tragedies inspires fans who share aspects of her story — loss of a mother and a grandmother, friendships that devolved into violence and court hearings, denial of due respect in an industry long dominated by men — while sparking the interest of guys who think she lied about being shot in 2020 for clout.
Her new album, Traumazine, revisits the content and thematic conceit of her debut, updating us on life since shouting out Houston and the Hotties during the Grammys. Like Eminem and Ye, whose early releases were themed series reflecting on the swift changes fame forced on them, Megan is writing ruder, sadder, funnier songs about her relationship with the public. She’s trying to showcase more vulnerability; she’s getting to rub greater wins into a wider array of haters’ faces.
It’s a blast listening to the rap history flowing through Megan Thee Stallion’s verses as she pays homage to Texas rap forebears and tries on rhyme patterns and production values on loan from ’90s East Coast hip-hop and ’80s R&B while matching wits with peers from around the country. She can do rapid internal rhymes, as displayed during “Ungrateful,” a heat check for backstabbing former friends that features Memphis rapper Key Glock.
Look beyond all of the sidesplitting couplets and mercenary one-liners and pop gestures such as “Ms. Nasty” and “Star,” and Traumazine has a lot to say about being the object of the probing eyes of tens of thousands of onlookers, a point around which hundreds of hot takes converge. This world of NDAs, plan B’s, disrespectful Instagram comments, and fractured friend groups sounds suffocating; navigating it without parents sounds heartbreaking.
A mainstream rap album is a balancing act, a quest to appease heads who’ve been boosting your music since your early mixtapes and freestyles and the wider audience of casual listeners who’ll stick around as long as the hits run piping hot. Traumazine holds to a formula that worked for Meg: 17 to 18 bubbly rap songs, mostly under three minutes, peppered by the occasional R&B jam or Dr. Luke / Calvin Harris–type beat or spirited reimagining of a classic rap song.
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