Kendrick Lamar Is a Mortal Icon on ‘Mr. Morale & the Big Steppers'

Kendrick Lamar has long extracted maximum power from his blend of the interior and the global, making him a particular kind of generational superstar — one who shoulders the weight of others. In a few places on “Mr. Morale & the Big Steppers,” the rapper’s fifth studio album, he laments from the top of the mountain he’s spent the last decade climbing. These are depleted, lonely incantations: “I can’t please everybody,” “I choose me, I’m sorry.”

Lamar, 34, is an astonishing technician, a keen observer of Black life, a proletarian superhero, an artist who reckons with moral weight in his work. But judging by “Mr. Morale,” which was released on Friday, he is also anguished, ravaged by his past and grappling with how to make tomorrow better, besieged by a collision of self-doubt and obstinacy. And fallible, too.

Five years have passed since Lamar’s last album, the Pulitzer Prize-winning “DAMN.,” and even that gap has the air of the moral to it — Lamar as pop culture refusenik, a thinker who discourses at no one’s pace but his own.

But maybe five years is just how long it takes to shake free of the long echoes of other people’s perceptions and expectations. The Lamar of “Mr. Morale” sounds lonely and tense, increasingly aware of the burdens placed upon him by his upbringing and potentially unsure about his capacities for overcoming them. He does these calculations over some of the most desolate production of his career. He is withdrawing in more ways than one.

If “To Pimp a Butterfly” from 2015 was Lamar’s social polemical peak, and “DAMN.” from 2017 was his anxiety album — the product of realizing how his very private thoughts were becoming very public and scrutinized — then “Mr. Morale” is about retreating within and pondering your accountability to the person in the mirror, and to the handful of people you keep closest. (A recurrent voice on the album is that of Whitney Alford, Lamar’s longtime romantic partner, though perhaps no longer, depending how you read “Mother I Sober.”)

This begins with family, and two of the most moving songs on the album deal with Lamar’s parents. On “Father Time” he details how his father raised him to be unforgiving of himself, and to bury his uncertainties: “Men should never show feelings, being sensitive never helped/His mama died, I asked him why he goin’ back to work so soon?/His first reply was, ‘Son, that’s life, the bills got no silver spoon.’”

“Mother I Sober” — which features sagging vocals from Beth Gibbons of Portishead, a missed opportunity — traverses domestic abuse and Lamar’s frustration at his own childhood inaction, but then telescopes out to his own failings, in the form of infidelity. Hearing Lamar apparently confess to this kind of intimate disloyalty is part of an immolation of the ethical persona he’s cultivated for years (or perhaps had thrust upon him — “Like it when they pro-Black, but I’m more Kodak Black,” he raps on “Savior”).

He goes even further on “We Cry Together,” an outlandish tit-for-tat about a profoundly broken relationship, with the role of his partner vividly speak-rapped by the actress Taylour Paige. The song pulses with a startlingly raw toxicity, even if construed as character work. It is also, perhaps perversely, one of the most musically successful songs on the album, a shuddering alignment of rhythm and sentiment.

The opposite is true of “Auntie Diaries,” in which Lamar raps about two people close to him who came out as transgender. He does this in an earnest but clunky way — there is misgendering, and there is deadnaming. And in his retelling of his childhood ignorance, he invokes, and repeats, a homophobic slur several times. These are faux pas, and so is the airless, joyless production — it is as sonically uncommitted as it is apathetic.

Lamar is the rare popular musician who receives almost universal acclaim, not only artistically, but often as a kind of paragon of virtue. But there are all sorts of complexities and heterodoxies that are suffocated by uncomplicated embrace. “Mr. Morale” appears to be a corrective for that — it is an album that aims to repel, or if not quite that, then at least is at peace with alienating some of its audience.

It is also a reminder of how rare it is these days to encounter popular music with unstable politics, and a gut punch to the presumption that progressive art and ideas always go hand in hand.

On two different songs, Lamar expresses a kind of sympathy for R. Kelly, who has been convicted of sex trafficking and racketeering. And one of the voices that appears throughout the album is that of the Florida rapper Kodak Black, who has in the past faced sexual assault charges. (He later pleaded guilty to lesser assault charges.) Opting to work with Kodak is both creative and political provocation — it suggests Lamar believes in redemption (or perhaps that everyone is flawed, some more publicly than others), but also feels like an implicit rebuke to those who don’t see poetry, pain or progress in the work of Kodak or his peers. (Indeed, it has plenty of all of that.)

These are dares of a kind — in a way, they are the most public-minded decisions on this album, which often feels insular, lyrically and musically. “Mr. Morale” is probably Lamar’s least tonally consistent work. Unlike on “DAMN.,” where Lamar tried to smooth the edges of his songs and arrived at his most commercially appealing album, “Mr. Morale” — on which Lamar works with his frequent collaborators Sounwave and DJ Dahi, Beach Noise, Duval Timothy, and others — is rangy and structurally erratic, full of mid-song beat switches, sorrowful piano and a few moments of dead air.

At his best, Lamar embodies the deep creative promise of the art form of rapping — he provides hope that there are ways of agglomerating syllables that haven’t yet been thought of, that word and cadence and meaning can still collide in unanticipated ways. His voice is squeaky and malleable, and it’s often most riveting when untethered from simple rhythms. But there is a difference between effort and achievement. And when Lamar is under-delivering — say, on “Crown” — the air fills with expectancy: Surely more is just around the corner?

That said, one gift of the Lamar aura is the way he frees those around him to reach for transcendence. Ghostface Killah, a veteran so accepted as a lyrical hulk as to be taken for granted, appears on “Purple Hearts” with an astonishing, floating verse. Lamar’s cousin Baby Keem also shines on “Savior (Interlude),” as does Kodak Black on “Silent Hill.”

Such is the enviable house Lamar has built over the last decade, one that demands more of everyone who visits. But “Mr. Morale” reveals him to be a titan who is a victim of idolatry. Lamar knows that in truth, no one is a hero, and maybe no one should be. He is just a man. Allow him that.

Kendrick Lamar
“Mr. Morale & the Big Steppers”
(pgLang/Top Dawg Entertainment/Aftermath/Interscope)