Review: Fever — Megan Thee Stallion

Megan Thee Stallion is having a moment. After the release of her second mixtape, Tina Snow, the rapper was thrust into the spotlight with her intricate flows, incredible freestyles, and infectious social media presence. Riding the wave of acclaim and utter standom she’s accumulated in such a short span of time, she’s released Fever, her impressive debut record, just six months later — in hip hop, that’s practically an eternity. Over fourteen tracks that accumulate forty minutes (just six of them clock in above the three-minute mark), Megan proves why she’s dominated the 2019 rap game so thoroughly with her youthful exuberance.

Entering the fray with “Realer,” the rapper starts off strong with a siren call for all of her “hotties,” the affectionate name given to her fans, setting listeners up for the main themes of the record: making money, calling out shit-talkers, and her sexual proclivities. Though her technical skills are quite advanced for a newcomer, the relentlessness of the subject matter can get tiresome after repeated spins — a common occurrence on a rapper’s first album. Despite such a detraction, the catchiness of tracks like “W.A.B” and “Money Good” breathe a bit of life into the record’s duller moments.

Juicy J, a fellow southern hip hop prodigy, can be found all over Fever, either as a collaborator or a spiritual influence. Producing “Pimpin,” “Simon Says” (on which he also features), and “Dance” (a feminist slant to his “Bandz a Make Her Dance”), the veteran rapper is a powerful cosign, ensuring Megan is not one to underestimate. Beside his brief appearance and Da Baby’s verse on “Cash Shit,” the album is largely a solo endeavor; in a time where features oversaturate most projects—be it hip hop or otherwise — it is both a welcome divergence from current trends and an impressive showcase of her many facets. Fever is an assertive introduction to a post-viral Megan, allowing for growth in her extremely young career while simultaneously feeling well-rounded in spite of a lack of lyrical variation.

Rating: 8/10

Standout tracks: “Simon Says,” “Money Good,” “Dance,” “Sex Talk

A music business student with a passion for writing about music almost as intense as his desire to curate it.

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