There is no denying Roddy Ricch has the talent to excel, and we’ve heard plenty; however, he still struggles to find proper balance in tracks that aim to evoke certain tones for radio play and falters by lacking captivating traction. Though I use the terms radio play loosely – hip-hop stations function differently from Pop/Hot 100 radio – it’s more apparent than ever that it usually revolves around themes of love and relationship dynamics. With Feed The Streets III, that need isn’t that transparent; Ricch is steering the vehicle through slick beats, delivering consistent good to great verses that build depth, and when Ricch teeters into the weaker output, it stumbles over similar mistakes – bland repetition. Feed The Streets III continues Roddy Ricch’s commercial run, giving him an established platform that his music becomes transparent in the direction he is taking. Focusing on bringing depth, it’s comparatively more vulnerable, giving us Ricch behind the mic, wearing his emotions on his sleeves, and humbling himself from his riches, which bring forth their own set of external issues. 

Hearing Roddy Ricch comes through with sheer vulnerability brought me closer to this tape. It’s one thing to have the consistency to flex without retreading familiar bars, but when we get that vulnerability, whether, with emotions or thematic inflections, it’s retroactively profound. With Ricch, it’s treading toward simple lyricism, like “Fade Away,” which begins like Ricch’s take on the “21 Questions” model of writing about love with emotional depth. Unfortunately, it shifts into a track that focuses on flaunting his significant other with gifts instead of adding layers to emotions felt through hypotheticals. It winds up feeling like one of a few throwaways that don’t give us enough to get a sense of anything beyond surface layer quality, akin to “#1 Freak.” It has a smooth rhythm and a solid Ty Dolla $ign feature, but it takes away from a functioning consistency of emotionally perversive lyrical captivity. 

From “King Size,” “Heavier,” “Pressure,” and “Letter To My Son,” there is a lot here that brings value as Roddy Ricch keeps himself focused thematically. We get to hear no-shame humbled rich flexes with “King Size” and “Aston Martin Truck” and the weight of depression and hope with “Heavier” and “Letter To My Son.” Though we hear Ricch acknowledging how he got there, he carries humility when expressing his colors when he flaunts his riches and promiscuity. Roddy Ricch stays vulnerable by allowing himself to get judged, as he isn’t creating a front, like some rappers do, and breaking walls to let us see beneath the cracks of his excess living, like in “Heavier.” All of this gets boasted by consistent Hip-Hop and Trap beats that bring enough character, despite having steady but overused drum patterns.

“Heavier” is a perfect example of what I mentioned; Roddy Ricch starts his first verse by showing us aspects of his life, rapping: “Eighty racks on the Goyard chect, uh-uh/The whole team pullin’ out Rocky like Sylvester, uh, uh/Denim suit or Prada (The Prada)/My bitch wanna rub me down with oil, my love life like a saga (Saga),” before getting closer to his heart. In the second verse, Roddy Ricch raps: Rest in peace Lil Keed (Yeah), hope the slimes proud of me (Yeah)/Hope the feds let ’em free (Yeah)/They don’t need to be locked in chains (Yeah, yeah)/Told Gunna Wunna to call me, I was out the city and missed it.” There is a level of authenticity that boasts the content of the tracks surrounding this, “Pressure,” and the final song, “Letter to My Son,” which imbues an extra set of layers on his more apropos flex ones. It lets you know that there is meaning behind his musical approach and needs to have captivating melodies to keep us entrenched in his sound and replaying with honesty. As you hear the array of tracks that may teeter between the known and unknown, expectancy and surprises, Roddy Ricch stays headstrong, so the will in his musical output never derails.

Though it tries to be this resounding moment of pure vulnerability, it may not show on the surface and makes one’s return to the quality tracks a slightly rewarding experience. There is no denying that it’s constructed standardly, checking off items off a list to be brought up, like monetary worth and pride, all while trying express layers of humbleness. It allows us to understand that it doesn’t like it lacks merit, which some can falter due to it. Some are mediocre or above average, but Feed The Streets III has more than what the others bring – it makes you want to return to understand the depth of other tracks you may not have understood prior beyond its surface layer. That isn’t to say it’s upper echelon since Roddy Ricch makes some interesting decisions, which never dilutes his writing – it’s beautifully expressive, and he knows how to craft choruses. Furthermore, Ricch never makes you think he’s taken sidesteps with his flows, finding a proper balance between straight spitting and melodically flowing, like on “Favor For A Favor.”

Feed The Streets III is another solid entry in Roddy Ricch’s Feed the Streets series, even if it isn’t a resounding blockbuster hit. Excellent songs flow smoothly from start to finish; sometimes, they spread the ambition sweating out Ricch’s pores as he raps them. Unfortunately, some missteps have made a few tracks skippable due to losing traction in flow, taking away from personal aspects of Ricch so he can make a track for the ladies. It leaves you feeling satisfied; even though it isn’t a five Michelin-star meal, it’s ample enough to say you left with enough to reflect on and replay.