Young Thug has never failed to deliver on being one of trap’s most eccentric artists. Even if his lyrics rarely would qualify as particularly smart, he is an artist that does not seem as concerned with the words he is saying but the way he delivers them and in that department he has always been memorable. His auto-crooning style is similar to that of Future’s but with a looser flow that pairs well with colorful production when he is given the opportunity to work with a talented producer.
So that being said, all I was hoping for with So Much Fun was that it would actually deliver on its titular promise. If I could have fun with this album, I would consider that a win. Anything else would be extra but as long as I did not feel bored here, like I have with many of Young Thug’s contemporaries’ recent projects, I would be happy.
I am happy to report that for fans of trap, especially trap with a bit of colorful flare, this will certainly be an excellent late summer album for you. Throughout its breezy 19 tracks, we see Young Thug having fun over some bouncy and energetic beats which help this longer project go by a little easier. The amount of features Thugger is able to get on here also helps to keep things interesting and each track distinct enough to avoid getting overly repetitive.
I do think So Much Fun takes a little long to get going. The opener “Just How It Is” does an excellent job of setting up the kind of lyrical content we are in store for on this album. Lots of flexing on money, fame, sex, etc. but it is over a pretty bare beat and Young Thug’s delivery is surprisingly unengaged and lacks the characteristics you would expect from him. I was also let down by “Sup Mate” which just meanders for the most part, never gaining any sort of meaningful momentum. The Future feature is also totally wasted as he sounds bored as hell over a fairly standard trap beats with repetitive hi-hats.
After this we luckily get a stretch of fun and memorable tracks that have some shockingly solid features. “Ecstasy” shows Young Thug finally waking in and having a blast on a bouncy beat that compliments his delivery much more than Machine Gun Kelly’s who is barely serviceable on here but really pales in comparison to what Thugger is doing. “Hot” is a much better collaboration, which sees Young Thug’s first team up with Gunna on this project and the both of them pull their weight well but it is the grandiose production on here that really makes it stand out on here.
Thugger and Gunna’s second collaboration on the album, “Surf,” is certainly a little repetitive and Gunna does not stand out quite as nicely but Pi’erre Bourne continues to prove he is a solid producer when it comes to these kind of tracks. This is followed by “Bad Bad Bad,” which has a great hook to it and again the production has a slightly bigger feel to it which compliments Thugger much more than it does Lil Baby who I continue to be disappointed by.
This is not to discredit the flex anthem “Lil Baby” that immediately follows and for me has been one of the biggest earworms on this entire album. Maybe it is the chipmunked autotuned vocals that accompany Thugger but it really does work incredibly well for me. It is a personal favorite of the solo Young Thug tracks on here.
Following this we got another stretch of tracks of with high name features, most of which go over solid. Lil Uzi Vert sounds great on the sprawling beat of “What’s the Move,” 21 Savage brings some playfulness to “I’m Scared” and definitely helps adds some variety to a string of features that tend to blend together at this point in the album. I was also surprised by Juice WRLD on “Mannequin Challenge” which I found interesting since he actually played off of Young Thug making this track have some truly great chemistry.
I also am glad Thug used this album to put up Lil Duke, a rapper I had previously not heard much from. He has a solid verse on “I Bought Her” despite that song being particularly shallow. His verse on “Cartier Gucci Scarf” is solid too but is definitely overshadowed by Young Thug’s intense, raspy delivery that you rarely hear from him and actually made me feel like there was a third uncredited artist on here.
So yeah, I certainly have been having fun with So Much Fun, but even I have to admit there are plenty of moments that do not work at all on here. “Pussy” is obviously supposed to be tounge-in-cheek but the joke runs thin quickly and despite Thug’s best effort it is not as funny as I think he might have imagined. “Circle of Bosses” was mostly generic for me and Quavo’s presence does not add much here unfortunately. I also do not know who keeps letting Nav onto tracks but he is a sponge of charisma and makes “Boy Back,” which is already fairly forgettable, even worse. And while I have grown on “The London” quite a lot since it first came out, I can’t help but to feel it was tacked onto the end, which is particularly tough when this album is already longer than it needs to be.
This is not an album that will win over people who aren’t already sold on Young Thug but for someone who is casually a fan of his work, I can say that this is certainly up there with some of his better projects. Not as great as Jeffery but certainly the best thing he has done since. As shallow and hedonistic as this project gets, it never forgets to be fun and that is really the only thing you should be expecting this project to deliver on. While it is nothing new from Young Thug, it is still good to see he is able to do what made him big to begin with.
Best Tracks: Ecstasy (feat. Machine Gun Kelly), Hot (feat. Gunna), Bad Bad Bad (feat. Lil Baby), Lil Baby, What’s the Move, Cartier Gucci Scarf, The London (feat. J. Cole & Travis Scott)
Worst Track: Boy Back (feat. Nav)