“Tats on My Face” and “Made Man” are just two more fish in the ever growing school of indistinguishable Migos flexes, and even after multiple relistens I cannot remember a single moment from “Underrated”.
It’s a complete slog to get through, and makes a perfect case that good lyrics about racism and rising to the top do not equate a good song. Tracks like “Don’t Lose Me”, while startlingly emotional and revealing for the Atlanta trapper as an apology to his wife, doesn’t have any impact because of its basic flows and zombified delivery. Unfortunately, Offset seemingly associated more introspective writing with sounding completely dead on the mic. The main crutch on which all of these songs lean on is the Main Migo himself for all the mixed bags of features and somewhat decent beats, Offset’s personal stories and usually frantic performance dexterity could turn Father of 4 into something salvageable. The album had me hooked line and sinker to see where the desperately needed ambition would take me, but as soon as Offset sets off, Father of 4 falls off. While Offset didn’t exactly bring some truly fiery passion in his volume on these couple of tracks, he makes up for it with some solid hooks, flows, and writing that passed the stale standard of Migos’ simple trap flexing. Offset’s subdued delivery and auto tune sound richer than usual on the first few tracks of Father of 4, whether it be over the exotic flutework on “Lick” or the rags to riches biography of “How Did I Get Here” (featuring a solid J. For once, I felt like a modern Migos album sounded different enough to be palpable and stand out amongst the crowd. Its moody keys, ethereal trap percussion, and vintage Big Rube feature paint Offset’s rise to success and fatherhood as something more than the usual Migos shtick we’ve been spoon fed since last year’s Culture II. Right off the bat, Offset wears his ambition on his sleeve as the album opens on its title track, “Father of 4”.
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