When Chance The Rapper dropped his pivotal mixtape “Acid Rap” back in 2013, the beaming Chicago native was determined to carve his name in the sand alongside notable rap legends. He received the ultimate co-sign from his idol, Kanye West, and had a slew of hits featuring hip hop’s biggest names. “No Problem,” which contains verses from Lil Wayne and 2 Chainz, was downright inescapable in 2016. DJ Khaled’s “I’m The One” had similar traction just a year later.
However, the Grammy-winning star was significantly humbled when his 2019 debut album, “The Big Day,” was lambasted by critics and fans alike.
The project, which celebrated Chance’s marriage to Kirsten Corley, still managed to peak at Number 2 on the Billboard 200. However, his authenticity immediately came into question. Did he really become so enamored with fame that he let his art inevitably suffer? “The Big Day” was saturated with baffling moments. When Chance wasn’t duetting with Death Cab for Cutie’s Ben Gibbard on the painfully innocuous “Do You Remember,” he was spitting juvenile bars on the widely panned “Hot Shower.”
At the time, Chance seemed like a caricature of the emcee who proudly placed the entire city of Chicago on his shoulders. Now, six years and one divorce later, he has become more pensive than ever — and we hear it unfold on “Star Line.”
The 17-track album centers Blackness in an expansive and exciting way. Its title pays homage to Jamaican activist Marcus Garvey and his Black Star Line endeavor, which encouraged and helped Black Americans make the pilgrimage to Liberia. Garvey, who was pardoned by former President Joe Biden in recent years, dedicated his life to Pan-African awareness and cultural appreciation.
Following his travels to Jamaica and Ghana, Chance appears to be critically thinking more in this direction. “Star Line” offers up that same kind of pride but makes it impressively city-centric: Some of Chicago’s most talented Black artists make guest appearances on this impressive body of work. “Ride” boasts verses from legendary Chicago rap group Do Or Die, who experienced success with their 1996 hit single “Po Pimp.” Singer/songwriter Jamila Woods lends her immense talent on “No More Old Men.” Though Chance warmly reminisces on his Chicago childhood throughout the track, the pair eventually lament on how Black youth no longer have their elders to look up to and, perhaps more importantly, to fight for.
The most powerful statement on “Star Line” is the BJ The Chicago Kid-accompanied track “The Negro Problem.” Not only does Chance analyze the complex nature of identity, but he also addresses the role of politics and police when it comes to how Black children engage with their own culture. “Now it’s train police and it’s school police/It’s gonna be police at the balloon release,” Chance emphatically states on the song. BJ The Chicago Kid’s crooning emphasizes the message that Black folks’ struggles are society’s struggles.
Chicago trap prodigy BabyChiefDoIt injects a shot of adrenaline into “Star Line” with “Drapetomania.” On the surface, it seems that Chance would be outside of his sonic realm on the fast paced, gargantuan banger. But within seconds, it’s clear that he is in his element and thrives off of a challenge while supporting a younger artist in the process. “Back To The Go” featuring Vic Mensa contains palpable hip hop grit as Chance examines the loneliness of bachelorhood, again.
He’s not necessarily reinventing the wheel with vulnerability, but as a Black male artist it sure does feel as refreshing as it does vital. Chance’s ruminations on “Letters” are just as captivating, as he brazenly calls out the hypocrisy of Black churches and implores them to prioritize morality over capitalism. “Don’t lay down now when you know that they should feel a noose/Know it ain’t shit to lynch a Dylann Roof,” he exclaims.
All in all, “Star Line” is about soul searching as much as it is honoring the Black creatives that Chicago continuously produces. Doors have opened since Chance The Rapper has reached remarkable heights — and he insists on leaving them open for the next batch of artists to walk through behind him.
Candace McDuffie is a freelance contributor whose writing has appeared in the Boston Globe, Spin, Entertainment Weekly. She writes on the intersection of race, gender and entertainment.