Big Sean & Metro Boomin: “Double or Nothing” Album Review

Written By: Jordan Smith

Originality: (2.0 / 5)
Vocals/Flow: (3.0 / 5)
Lyrics: (1.5 / 5)
Production: (5.0 / 5)
Average: (2.9 / 5)

Today, we got the release of Metro Boomin & Big Sean’s Double or Nothing. The production was strong, as expected but Big Sean’s lyrics didn’t really cut it. The features that included Travi$ Scott, Swae Lee, 2 Chainz, Kash Doll, 21 Savage, Young Thug and Swae Lee were lackluster at best, and would have probably worked well with any other artist than Big Sean. The hooks, and punchlines were too forced to ignore. More striking than the bad punchlines is the fact that Big Sean hasn’t had a consensus hit album since 2015’s Dark Sky Paradise. With the release of this underwhelming project, Big Sean hasn’t had a great, or even really good project in years. Has his creative well run dry?

To be fair, there were shades of the Big Sean who once went platinum. “No Hearts, No Love” was creative and uncompromising. This was a lone example of Big Sean’s lyrics actually meshing with the production. “Who’s Stopping Me” is another good example of no forced punchlines to fit production that he noticeably didn’t feel comfortable on. Moments like that are rare, and it’s a shame because a lot of really well-produced beats essentially ended up going to waste. If it hadn’t been for the mediocre album release to begin the year, it would be logical to conclude that this were an experiment gone bad. Ultimately though, that isn’t the case and he did flop not less than a year ago.

Double or Nothing had its moments where Big Sean displayed himself as one of the top-tier MC’s of his generation like some would argue he is. Unfortunately, there weren’t enough of those moments present on this body of work to sustain that argument. Big Sean had the best producer of the last two years arguably exclusively produce his album and he didn’t come close to delivering in the fashion others who have had this same opportunity did. At this point in his career it’s becoming harder and harder to distinguish whether or not Big Sean is anything more than a rapper capable of producing catchy single from time to time. If that is the case, it would be a shame given the fact that that at one time he was the poster child of the future of rap, along with the rest of Kanye West’s (former?) GOOD Music record label. Fans definitely have to wonder after this release, is this the best that Big Sean has left?