After a long six-year absence, Seattle pop-rap star Macklemore reintroduced himself with Ben. Taking the title from his birth name, this third solo effort is his most vulnerable confessional to date, one that allows him to purge some inner demons and share a bit of himself with fans who might be more accustomed to his rousing hit singles with Ryan Lewis. While 2017's Gemini peppered pop-leaning anthems amongst a glut of timely, trap-laden hip-hop, Ben is almost an even split, with the first half of the set dedicated to ...
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After a long six-year absence, Seattle pop-rap star Macklemore reintroduced himself with Ben. Taking the title from his birth name, this third solo effort is his most vulnerable confessional to date, one that allows him to purge some inner demons and share a bit of himself with fans who might be more accustomed to his rousing hit singles with Ryan Lewis. While 2017's Gemini peppered pop-leaning anthems amongst a glut of timely, trap-laden hip-hop, Ben is almost an even split, with the first half of the set dedicated to radio-friendly fare like the '80s synth pop gem "1984," the inspirational "Chant" with Tones and I, and the bouncy, cheerful bop "No Bad Days" with Collett. He rejoins Windser and Lewis -- who both participated in 2021's big "Macklemore & Ryan Lewis" reunion, "Next Year," which oddly doesn't appear on this album -- for the midtempo, acoustic guitar highlight "Maniac." The production and songwriting on this first half are upbeat and endearing, which feels great until you really listen to the lyrics, which reveal the true heart of Ben. Hardened ruminations on life and death, his relapse and overdose during the COVID-19 lockdowns, struggles with faith, and the ebb and flow of his mainstream popularity fill songs such as "Faithful," "God's Will," and "Day You Die." On "Tears," he takes his creative storytelling to another level, framing his alcohol addiction as a lifelong, love-hate relationship. It's a no-frills, honest approach that is much appreciated after all these years since his earlier, more thoughtful days. Fans of that period will delight when Ben pivots to old-school boom-bap -- DJ Premier even has a credit on "Heroes" -- with standouts such as the head-nod, horn-sampling bar-fest "Grime" and the contemplative sprawl of the dreamy "Lost/Sun Comes Up," which could have been a late-era Mac Miller track. Imagining how the world would react to his death (and facing addiction and the deaths of his friends), it's melancholy and moving all at once. Balancing the personal with biting social commentary, he later adopts a Kendrick Lamar flow for the popping "I Need." Altogether, Ben feels like the first time Macklemore has truly let listeners into his inner world, showcasing his underrated lyrical skills and enough varied production to keep the album moving forward toward a hopeful finish. ~ Neil Z. Yeung, Rovi
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