![]() Yeah, he’s talking about sitting near Jay, Bey, and Taylor - there’s no other room for those three other than the GRAMMYs (or a TIDAL meeting). This has to be the GRAMMYs, his description is way too vivid. Macklemore is walking us through, getting ready for some big music show, sounds like he’s getting ready for the GRAMMYs. Let’s get it! I’ve always enjoyed Ryan Lewis' big, grandiose sound and he kicks the album off with a gorgeous string section. I also really enjoy when he’s more personal, if he truly confronts all the skeletons hanging in his closet, than this could make for a good second coming. I expect him to be Macklemore the mathematician, overly thoughtful and calculated, a balance of fascinating and boring. The title This Unruly Mess I've Made alludes that he will be confronting all the disorder and chaos that's surrounded his life during the last few years. It’s the kind of ups and downs that can be channeled into great art. A lot has happened in that time - he relapsed, lost himself, found himself, and had a child. ![]() He reached the top, got battered by the hip-hop culture he so obviously wanted to be accepted by, and then disappeared from making new music right alongside Frank Ocean.Īfter three and one half years of laying low, he’s finally back with a new album. That’s old news, a story that’s been told over and over, but the album did ascend Macklemore to an extremely high plateau. Success has only intensified Macklemore’s conflicted relationship with rap: On his 2017 solo single, “Good Old Days”, he looks back fondly at his early years as an unknown MC trying to break into the game however, the track’s elegant, ascendant piano chords and heartrending Kesha cameo suggests he’s grown evermore accustomed to playing the crowd-pleasing pop star.The Heist isn’t a bad album, it’s sprinkled with moments, but it wasn’t worthy of beating Kendrick at the GRAMMYs. Their 2012 self-released debut, The Heist, crashed the Billboard Top 5 and scooped up four Grammys thanks to a string of unlikely crossover hits-like the sax-squawked anti-luxury anthem “Thrift Shop” and the pro-LGBTQ ballad “Same Love”-that betrayed his love of pre-millennial hip-hop sounds while interrogating some of the genre’s problematic materialist and homophobic tendencies. Upon connecting with producer Ryan Lewis in 2009, Macklemore finally acquired the megaphone that allowed him to project his big ideas to the masses. But during those DIY days, Macklemore developed a reputation for intense introspection and keen cultural observations-on his 2005 track “White Privilege”, he examined not only the gentrification of hip-hop from black street music to commercial commodity but also his own complicity in that process as a white MC. Hip-hop, he said, was “my means of trying to figure out who I am, and to figure out my truth, and look at society and get closer to a connection to something much bigger than myself.” It would take some time for him to make that greater connection: The MC born Benjamin Haggerty in 1983 dropped his first mixtape in 2000 and spent the next decade doing the underground grind. In a 2016 interview with Apple Music, Seattle rapper Macklemore recounted the moment when, at age 17, he realised his life’s true calling.
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