North Carolina Rapper DaBaby takes the stage once again with “BLAME IT ON BABY,” an aggressive, modern trap album boasting banger after banger. It’s the rapper’s third studio album and an important one, following an impressive showing in 2019 with “Baby on Baby” and “KIRK” taking him to the top of the rap game.

The album jumps right into it with “CAN’T STOP,” a straightforward trap song that indicates DaBaby general direction with the album. The production is basic and straightforward, showing no intention of breaking any boundaries. Nonetheless, it bangs. Distorted 808s, heavy hitting drums, and hard melodies, is all DaBaby needs to go off on a verse.

The project’s next two songs, “PICK UP” and “LIGHTSKIN SH*T,” see features from Quavo and Future respectively. Again, these are two solid tracks; however, in terms of cadence, flow, melody and rhythm, there is nothing too outstanding. In fact, on “LIGHTSKIN SH*T,” DaBaby seems to sacrifice his signature sound for a very Lil Uzi Vert type beat.

Redeemingly, “TALK ABOUT IT” sees DaBaby do what he does best, rapping over a hard flute beat. Furthermore, “SAD SH*T” shows that DaBaby is willing to go out of his comfort zone. The track is not only an obvious divergence from his usual type of song, but also sees semi decent singing. Again, execution isn’t necessarily what DaBaby needs to improve on, but rather working on defining himself as an artist and venturing away from the mainstream.

“FIND MY WAY” and “ROCKSTAR” are some of my favorite tracks off the album, featuring plucky guitar melodies and bass out the wazoo. With catchy choruses and verses seeing vocal range from DaBaby, both songs definitely get your head nodding. Additionally, “ROCKSTAR” shows yet again the incredible vocal prowess of Compton rapper Roddy Rich, killing the feature.

“JUMP,” with an appearance from NBA YoungBoy, is decent overall, bearing lots of high-pitched 808s throughout the song. “CHAMPION” is also one of the better songs on the project and is exhibit A to DaBaby’s versatile adlib game. “DROP” has a nice chorus and a decent A Boogie wit da Hoodie feature. Getting towards the end of the album, as with many DaBaby projects, the songs start blending together; however, the title track “BLAME IT ON BABY,” stands out. Whether in a good or bad way is left in the air though, as the two minute track has no drums and several abrupt beat switches. All of that aside, DaBaby’s rap ability is brilliantly showcased.

Getting to the last two tracks on the album, “NASTY” sees DaBaby reuniting with Megan Thee Stallion with even more sexual than usual lyrics from both artists. And the last track, “AMAZING GRACE” confirms total lack of concept for the album, as “BLAME IT ON BABY” comes to a close with a banger.

At just 34 minutes, “BLAME IT ON BABY” isn’t a huge project. The album boasts impressive production but doesn’t show much growth from DaBaby. While there are several bangers off the album and a song or two are bound to top the charts, there isn’t anything too impressive from the North Carolinian. Moving forward, the artist’s next project will definitely be determinant as to whether the DaBaby is going stagnant or is just reaching his prime.