- It was a missed opportunity that Kendrick Lamar did not win album of the year at the BET Awards, as it should have gone to him instead of Beyoncé and SZA.
- “Renaissance” and “SOS” took home the prize, overshadowing Lamar’s “Mr. Morale & the Big Steppers,” according to Insider reporter Barnaby Lane.
- Lamar’s fifth studio album is a masterpiece of self-reflection, showcasing his talent and artistry.
During this year’s Grammys, “Renaissance” by Beyoncé and “Mr. Morale & the Big Steppers” by Kendrick Lamar won in their respective genre-specific categories, best dance album and best hip-hop album.
Unfortunately, both albums were overlooked in the major categories, including album of the year, which was awarded to Harry Styles.
The BET Awards presented an opportunity for redemption for Beyoncé and Kendrick Lamar.
Only Beyoncé managed to seize that opportunity.
Together with SZA’s “SOS,” “Renaissance” won the coveted album of the year award, leaving “Mr. Morale & the Big Steppers” behind along with other projects by Chris Brown, DJ Khaled, GloRilla, Drake, and 21 Savage.
This shouldn’t have been the case. Kendrick Lamar deserved to be on that stage receiving the award.
Before the Bey Hive starts buzzing, let it be known that “Renaissance” is an exceptional album (in fact, our own Insider entertainment team named it the best album of 2022). It immerses listeners in its unique soundscape, paying homage to Black and queer pioneers of house music like Frankie Knuckles through its escapist sounds and hedonistic lyrics.
SZA’s “SOS” is also a fantastic album. It combines soul, gospel, and rap, showcasing SZA’s powerful voice over minimalist sounds, although it lacks the depth and cohesion of “Renaissance.”
“Mr. Morale & the Big Steppers,” however, is a masterpiece.
With 18 tracks, the album serves as a confessional conveyed through the lens of a therapy session. Kendrick Lamar reveals the pressure he feels as a messiah figure within the Black community, expected to offer prophetic advice on life through his music.
“The cat is out the bag, I am not your savior / I find it just as difficult to love thy neighbors,” he raps on “Savior.”
The album also delves into themes of cancel culture, capitalism, sexual addiction, and toxic masculinity. Notably, Kendrick explores gender identity and transgender acceptance for the first time in his discography, opening up about two of his transgender relatives.
“My auntie is a man now / I asked my momma why my uncles don’t like him that much / And at the parties why they always wanna fight him that much,” he raps on the introspective “Auntie Diaries,” which ends with Kendrick acknowledging his own hypocrisy for using a homophobic slur.
The complexity of “Mr. Morale & the Big Steppers,” with its fusion of psychedelic jazz, rap, and blues, and its non-linear pacing, mirrors the journey of therapy, making it a captivating musical odyssey. Through introspection, Kendrick has created a deeply resonant body of work that speaks to the current times.
While it may be more challenging to listen to compared to the consistent beats of “Renaissance” or the breezy vibes of “SOS,” it still has its moments of fun. Tracks like “N95” showcase Kendrick’s trademark one-liners, and the dreamy “Die Hard” features the smooth vocals of Blxst.
Ultimately, “Mr. Morale & the Big Steppers” is a cathartic tell-all, giving voice to the experiences of a Black man whose trauma continues to haunt him.
It was disappointing that “Mr. Morale & the Big Steppers” did not win album of the year at the Grammys, but it wasn’t surprising. However, given that the BET Awards are specifically designed to celebrate Black culture, this album should have been the clear frontrunner for
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