Her Loss, the pseudo-collaboration album between Drake and 21 Savage, had the makings of being something grand; unfortunately, that isn’t the case–for the most part. After teasing us with “Jimmy Cooks,” a play on Drake’s character on Degrassi: The Next Generation, they further bolster their connectivity after the earlier collab “Knife Talk.” They double down on the bars, attempting to go beyond the corniness of Jimmy Brooks raps in the show, and Aubrey “Drake” Graham’s own casualness of it in his verses, to keep you engaged. Though some of Drake’s corniness seeps into 21 Savage, causing us to hear weak bars like this double entendre: “I don’t show ID at clubs, ’cause they know that I’m 21.” Though the corniness is slightly more scarce and lyrical than musically like Certified Lover Boy, it isn’t as cringe unless you’re overly critical of Drake’s weak ineptitude of dissing people who won’t respond. Jokes aside, it retreads familiar waters structurally, making it less enjoyable, but there are enough tracks that make a splash.
Her Loss goes on a tear with the first few tracks, making the subsequent rollercoaster of great and mediocrity in the second shine more glaringly. It isn’t trying to be thematically rich or profound with their rhetoric, as Drake and 21 Savage retread content, making them as intriguing based on the quality of their storytelling or flows/wordplay. From “Rich Flex” through “Hours In Silence,” the consistency is heard with beats and hooks that teeter on the line between expectancy and interesting but hit smoothly in comparison to “Circo Loco” and “Pussy & Millions,” the latter of which contains an insipid verse from Travis Scott. “Circo Loco” continues to show Drake tapping into his inner Game (Rapper), just not that nuanced, as his disses come off as childish and in poor taste while having an albatross of a sample usage, with the melodic interpolation of “One More Time” by Daft Punk. On it, Drake “subliminally” disses Megan Thee Stallion and her situation, flipping the script of his “casual” misogyny, which is tired and something that hasn’t evolved beyond surface-level cruelty.
Drake is obviously talking his shit, which is in line with the focus of Her Loss–i.e. savagery. He disses Ice Spice, NYC’s current trending rapper, and implies different motives for the Ye reconciliation, disregarding the past, which one wouldn’t blame him considering Ye’s damaging anti-semitic rhetoric. However, he takes shots at random people just because, almost feeling pointless when he disses Alexis Kerry Ohanian, Serena Williams’ husband, and co-founder/executive chairman of Reddit.com. Other times his bars feel on brand, despite being effective. It’s janky in approach and delivery, becoming forgettable like some of the weak on-brand misogyny, like the line “I blow a half a million on you hoes, I’m a feminist.” It isn’t nuanced and is too surface-layer to create anything less than a forgettable surprise shock.
Drake is trying to match the viciousness of 21 Savage. But he isn’t consistently concentrated compared to the the verses club bangers “On BS” and “Spin Bout U.” The first half may be grand, but it isn’t enough to counteract the inconsistencies in the second. There are hooks that aren’t captivating, and a few standard hip-hop/trap beats relying on the quality of their flow delivery. Ultimately, it tries to balance the savagery with the not-so-esoteric club tracks, and it predominantly works, like the solo tracks. “3 AM on Glenwood” is 21 Savage’s only solo; it sees him getting introspective over this luscious, melancholic (comparatively), Hip-Hop/Trap beat. The two composites doesn’t acquiesce smoothly, feeling like it could have benefited from a different flow, but the raw depth 21 Savage brings in his verse boasts the quality. It’s a constant from 21–the rare corniness aside, he shines brighter than Drake, further making the ratio between the two on solo tracks a disappointment as half of Drake’s solo tracks is forgettable.
“I Guess It’s F**k Me” and “Jumbotron Shit Poppin” don’t have captivating flows, and Drake isn’t doing anything interesting with content in his verses. The former reminds me of those gray Drake love songs; however, it is bloated with drab bars, some of which don’t have the same value as ad-libs and their everlasting strength. For Drake, it’s whatever comes similar to “And the six upside down, it’s a nine/You already know the vibe.” “Jumbotron Shit Poppin” starts with promise, specifically with how it uniquely incorporates the backing vocals into the beat like an instrument; it swiftly becomes a rudimentary trap track without much going for it. Unlike them, “BackOutsideBoyz” and “Middle of the Ocean” are more refreshing, the latter due to Drake’s slick one-liners and crisp wordplay; the former is jovial, bringing forth that Lil Yatchy-Trap influence (which Yatchy co-produced). These tracks are detours from the bigger picture, and that is: how consistent can they keep it from start to finish? It’s pretty consistent, but it isn’t always in quality, where sometimes it could be just the verses like in “Rich Flex.”
There is no denying Drake and 21 Savage’s obscure synergy, specifically through their vocal levels/tones. Though 21 Savage can bring sonic energy with his production choices, his audio levels don’t always match Drake’s visceral energy. But they are on a steady wavelength that sees them beautifully bouncing off each other and expressing camaraderie. They have something going on here, but they can’t deliver with consistency, making me feel like it could have gotten trimmed around the edges for something more compact than this poorly-paced collection of tracks. It rounds out to something that works for them, but you can sense they could have come harder and wiser in their approach.