Socially conscious, goofy, introspective, thought-provoking and absolutely hilarious. These are not words often used to describe the latest hip-hop album. Unless that album is The Heist, the most recent work from Seattle-based rapper Macklemore and producer Ryan Lewis, whose unique style, compelling lyrics and sense of humor shine through on this production. It is always refreshing to hear rappers break away from Top 40 dance tracks with monotonous, and usually misogynistic, lyrics. One example is T.I.’s latest single “Ball,” featuring the creative refrain: “This club so packed, these hoes so drunk.” These songs fill a purpose (club music, dance parties, etc.), but the popularity of this style has been mirrored by a decline of innovative hip-hop. However, it seems that more previously underground rappers have broken into the mainstream to refresh the genre. The instant success of The Heist, which debuted at number two on the U.S Billboard 200 and reached number one on the iTunes store, attests to Macklemore’s ability to blend serious and often taboo topics with insanely catchy and addictive hooks, making for an absorbing listen.
Macklemore has previously garnered attention and a following through his first album The Language of My World (2005), The Unplanned Mixtape (2009), the VS. EP (2009) and the VS. Redux he made in 2010 with Ryan Lewis. The Heist builds on the sounds and themes that Macklemore and Ryan Lewis established with these previous works. While Macklemore is front and center, almost every song on the album features a guest artist, including Ray Dalton, Wanz, Mary Lambert, Allen Stone, Eighty4 Fly and Ab-Soul, which makes for a nice range of stylistic influences and a variety of voices. The instrumentation uses piano, trumpet, tambourine, trombone, violin, electric bass and drums, giving the album an organic, melodic quality. The background music stands on its own, but it is effectively incorporated into the vocals, strengthening their lyrical impact while allowing the lyrics to be the focal point of the songs.
Macklemore’s talent is evidenced most greatly through his lyrics. He is a powerful rapper, alternating between rapid, spitfire rhymes and slower, more melodic musings. Whether he is showing his humorous, goofy side on tracks such as “Castle” and “Thrift Shop” or being serious, he raps with intensity, emotion and sincerity. He articulates each word, allowing his lyrics to stand out, which is important as each song tells a story. Macklemore critically engages with our society’s values and expectations. “Same Love” is an ardent support of gay marriage, and “Make the Money” and “Wing$” deal with our culture’s obsession with consumption and our desire for superficial commodities. “A Wake” has Macklemore reflecting on racial tensions and struggling with his place in society: “White privilege, white guilt, at the same damn time / So we just party like it’s 1999 / Celebrate the ignorance while these kids keep dying.”
With his past of substance abuse, Macklemore is particularly adept at candidly and frankly talking about his struggle with alcoholism and addiction. “Neon Cathedral” cleverly uses the metaphor of a bar as a church to illustrate dependency. “Starting Over” recounts his relapse and the feelings of failure and frustration, ending with his renewed desire to remain sober. These themes could easily have made Macklemore sound self-righteous or preachy, but his emotion, humility, lyrical talent and the flawless production make the songs moving and enjoyable.
One of Macklemore’s greatest strengths is that he can balance meaningful songs with completely fun, often ridiculous tunes perfect for blasting in the car or on Saturday night. “Can’t Hold Us” is a stand-out track, with its rapid rhythm and swelling strings guaranteed to get people pumped up, as Ray Dalton sings, “Here we go back, this is the moment / Tonight is the night, we’ll fight till it’s over / So we put our hands up like the ceiling can’t hold us, like the ceiling can’t hold us.”
One of the album’s most popular songs “Thrift Shop,” which is incredibly catchy, celebrates the fun of shopping at Goodwill and going clubbing in all the weird old clothing you can find there. Macklemore cruises down the freeway in his Cadillac in “White Walls,” and “Castle” has him inviting everyone to party with unicorns and wizards in his castle.
Despite his engagement with somber topics, Macklemore has a great sense of humor and doesn’t seem to take himself too seriously. His diversity and range make The Heist enjoyable, entertaining and worth listening to over and over again.
