Chance the Rapper‘s ‘Star line’ Finds Optimism Amidst Personal and Political Turmoil
After a six-year hiatus, chance the Rapper returns with ‘Star Line,’ a deeply personal and politically charged album that grapples with loss, faith, and the pursuit of Black unity.
The release of Chance the Rapper’s first album in six years, the long-gestating Star Line, prompted reflection on whether the 32-year-old Chicago artist still possessed the creative spark that propelled him to superstardom during the final years of the obama management. Having announced himself with the gospel-infused Coloring Book,and collaborating with artists like Kanye West,lil Wayne,and Justin Bieber,chance initially captivated audiences with his buoyant sound and socially conscious lyrics. However, the years since have been marked by personal and public challenges, raising questions about his artistic relevance.
The shadow of Kanye West looms large over Chance’s career, particularly given West’s recent descent into controversy. While West’s troubling rhetoric goes unmentioned on Star Line, the album is undeniably shaped by the intervening years – a painful public divorce, the loss of his grandmother, and the complexities of navigating faith in a turbulent world. The album’s opening track, “The Highs & Lows,” featuring Joey Bada$$, sets the tone, with Chance reflecting on the highs and lows of his life and career.
star Line is a bold statement, with Chance unafraid to confront difficult topics. On “The Heart & the Tongue,” Chance urges Black churches to move beyond “capitalistic prosperity-gospel antics” and reclaim their activist roots, delivering the charged lines, “Don’t lay down when you know that they should feel a noose/Know it ain’t shit to lynch a Dylann Roof.” He concludes the track with a simple, yet powerful message: “Love, Chance. P.S.: Bless everybody.” However, collaborations with artists like Lil Wayne on “Tree” – an interpolation of india.arie’s “Video” – introduce moments of discomfort, as Wayne’s lyrics contain insensitive language.
Perhaps the most fraught collaboration is with Jay Electronica on “Just a Drop,” a song addressing the systemic deprivation of resources faced by Black communities, referencing the Flint Water Crisis. While the track is ultimately satisfying,Electronica’s verse veers into familiar,and frequently enough criticized,territory,echoing arguments about oppression by “the money changers and money lenders” and alluding to antisemitic tropes.A similar verse on Noname’s Sundial previously sparked controversy, but understanding the context within “Just a Drop” is crucial.
In a time marked by divisive political debates – from forgiving family members aligned with the MAGA movement to scrutinizing support for Democratic representatives regarding the conflict in Gaza – Chance’s willingness to engage with those holding differing viewpoints feels remarkably humane. This doesn’t preclude criticism,as evidenced by tracks like “The Negro Problem,” where he sings,”Your problem is my problem,” and incorporates a vintage richard Pryor skit that satirizes generational divides within the Black community. he further pushes boundaries on “Drapetomania,” collaborating with BigChiefDoIt and rapping about self-defense and defiance of ICE, and on “Gun in Yo Purse” with Young Thug and TiaCorine, where he explores themes of mortality.
Star Line is undeniably topical, exploring Chance’s connection to his hometown of Chicago, his experiences as a single father, lessons learned from his own father, and the complexities of faith. While some tracks, like the arena-pop ballad “Space & Time,” fall flat, the album as a whole is a cohesive and memorable statement. As he proclaims on “Star Line Intro,” he remains “The West Chatham Santa with some toys to give,” a figure of faith whose joy feels genuinely earned. He acknowledges past mistakes and embraces self-love, admitting on “Pretty,” “sometimes I think she was the love of my life…I remember what I told myself/That I owe myself to show myself love.”
Chance the Rapper’s Star Line is not a perfect album, but it is a remarkably honest and hopeful one, marking a compelling return to form for an artist navigating personal and societal complexities.
