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Jack Harlow is a captivating, tall, and more and more chiseled 24-year-old man who sports activities a mop of curly hair, impossibly tamed and complemented by a youthful beard, sharp blue eyes, a coy smile, and a honking diamond earring in every lobe. Like all good heartthrob, he loves antics—he’s wanting to flirt with ladies he’s simply met and say, I love you, or just act like a goober in public. His second album, Come Residence the Children Miss You, reveals that the showmanship is merely a distraction from some insipid, vacuous music. Harlow’s charisma doesn’t translate onto the file, and, as an alternative, we’re left with a one-trick pony with out a discernible trick, a reliable rapper who doesn’t movement intricately or write impressively, a pop star who struggles to hold a track on his personal.
Harlow’s origin story is repeated usually: At age 12, he determined he needed to be a rapper and started working, working towards, recording, and promoting CDs in school. By 19, he made “Darkish Knight,” the track that launched a major-label bidding conflict for his abilities and, in the end, landed him a cope with the once-promising Atlantic imprint Era Now. Nearly two years later, he made his first good track and true hit, “Whats Poppin”; then, after releasing his debut studio album, the Harlow hype machine went into hyperdrive with “Business Child,” the Lil Nas X single the place Harlow dutifully carried out the function of the straight man within the proudly homosexual music video. Subsequent to Lil Nas X, Harlow delivered the most effective verses of his profession, too, his down-the-middle strategy an acceptable complement to his co-star’s extra fluid supply.
Stripped of an acceptable foil, nonetheless, Harlow’s swagger is muted. Regardless of an air of pomp, lead single “Nail Tech” is limp, largely as a result of its chintzy beat and Harlow’s reluctant vocals. He’s too informal on the track, as if he’s afraid to veer away from his tried and true movement for one thing extra expressive. Within the music video, for instance, he stands tall in a tank prime holding three canine, like he’s DMX, and he raps, “You ain’t considered one of my canine, why do you hound us?” He winks, sneers, and mockingly snaps his hand as he mouths, “hound,” however any implied aggression or magnetism is misplaced on the recorded observe.
Harlow’s means to rap effectively by some means acts as a hindrance to his means to make good songs. He doesn’t have a definable trait or tick that could possibly be parodied, preferring to maintain issues tidy and likewise make horrible allusions. (The worst is likely to be “Can’t lie, I’m on Angus Cloud 9” as a result of “You recognize I wish to dictate issues, Kim Jong” is so clearly silly that it should be a joke.) His easy strategy is much like these of fellow Southerners Megan Thee Stallion and DaBaby, the form of bars-first-but-also-make-it-pop throwback rappers who perhaps wouldn’t have stood out within the industrial panorama of the 2000s, however are anomalies within the day and age of vibes. Not like them, nonetheless, Harlow doesn’t make brilliant songs on Come Residence the Children Miss You. The album, for probably the most half, consists of a monochromatic palette of generic “easy” beats, one simply bleeding into the subsequent. Musically, it’s unfulfilling, missing standout melodies or thrilling rhythms. The sound of Come Residence the Children Miss You, in flip, is about as refined and fascinating as a Daniel Arsham sculpture, neat at a look however vapid upon any prolonged interrogation.
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