Steve 'Flash' JuonLet’s start with a little context. Two years ago I reviewed DDG’s “Maybe It’s Me…” at a time when his name was buzzing online. He was making viral music, but the reason it was viral was because he was putting his feelings about dating Halle Bailey on full display with the track “Famous.” It’s not as though that situation is less complex now that “Blame the Chat” is out. As of October 2024 the two announced they were breaking up, but they have a son together who they plan to co-parent. I’m happy for them if that works out, and it’s really none of my business (nor yours), but when they make public declarations via social media or press releases they are putting that business in our faces anyway.
“What I Prefer” is to have a conversation about DDG’s music and not how he or Halle are parenting their child. We both know that’s not what social media is going to do but I have to make the effort to steer away from it and simply wish them both the best. Putting the focus back on the songs makes it hard to avoid DDG has some problematic views about women. Someone I respect said in a video essay that “separating the art from the artist” betrays the inherent racism of people who will do it for white artists and not black ones. I agree. I’ll hold Kanye West and Tom MacDonald to the same standard — I think they’re both walking talking human garbage. While DDG is nowhere near the despicable level of either man his casual misogyny of songs like “Pump 4” can’t be ignored.
“Got a French bitch tryin to suck dick
She eat me up like an edible”
DDG raps more than he sings, something I greatly appreciate. “Blame the Chat” is well produced throughout and at 38 minutes long it doesn’t overstay its welcome. He loaded the album with guest stars. Ty Dolla $ign and Rich The Kid are on “Speed.” Wiz Khalifa is on “Lemonade.” Skilla Baby is on “GTA.” Even if you find some of the things DDG says problematic, he’s giving you plenty of opportunities to like his music anyway. I was about to cite “Do What You Want” with Offset as an example of that, but he still manages to rub me raw by repeating the phrase “when you got millions you do what you want” in the hook. Then I had a perspective flip — tweaking people is DDG’s whole agenda.
I don’t know if he accidentally stumbled into the formula with “Famous” or he was like that all along, but he’s definitely out here trying to make people mad just to keep his name in the conversation. Even the album’s title acknowledges that fact. “Blame the Chat” is DDG taking all the things people say about him and turning the volume up to make them talk more. What’s curious is that in the midst of making his haters mad there are jams that have nothing to do with it that stand up on their own. “More Than a Night” with Queen Naija, Rob49 and Shenseea is a song for the dance floor OR the bedroom. I don’t have to agree with D flossing on his haters on “Bankroll” to acknowledge it’s a head nodding track. Even the pitch corrected tracks like “Pimpin” are an okay listen.
In no way am I saying we should give DDG a pass for treating women like disposable objects in his lyrics or bragging about how he has to “keep a hammer” because so many people want to rob him. If Mr. Granberry wants to make pronouncements that he is trolling people and it’s just music and not who he actually is that’s his business. People can judge him accordingly by his actions. “Blame the Chat” isn’t a socially conscious album, an uplifting album, or an album that can make the world a better place. It is a reflection of the times we live in whether we like it or not. I also think it’s a mostly harmless album. We can’t expect artists to raise children and shouldn’t. If any young mind took their values and beliefs from DDG or any other musician that’s a failure of parenting and society, not the performer. I hope DDG doesn’t raise a child who treats women as objects of sexual gratification and the accumulation of wealth as more important than being kind and loving others, but we’ll find out in another 20 years.