REVIEW: Kendrick Lamar’s album a shift for fans

Famous rapper Kendrick Lamar’s sixth studio album, “GNX,” was released in Nov. 2024, gaining traction and success that transcended into 2025 with the announcement of a tour alongside SZA, starting in April, called the “Grand National Tour,” along with the confirmation of his performance on Feb. 9 in New Orleans for the Super Bowl LIX halftime show. 

This album differs from Lamar’s previous works, such as “Good Kid, mAAd City” and “Mr. Morale & The Big Steppers,” which are cohesive narratives rooted in emotion. 

“GNX” takes a contrasting approach, showcasing his expertise through individual tracks rather than the album as a whole. It explains why he is considered the greatest of all time, addressing those who believe otherwise and critiquing the industry. The first track, “wacced out murals,” calls out iconic figures Snoop Dogg and Lil Wayne for a perceived betrayal.  

His storytelling lyricism is present yet feels unfamiliar in this context, keeping the listener curious, almost as if he has something bigger in the works. Furthermore, the articulation is profound, supported by his aggressive tone, which amplifies his powerful deliveries. 

The theme that stands out the most is legacy, connecting Lamar to his roots and a long line of struggles that have shaped his identity. He emphasizes the importance of honoring legacy, particularly regarding the West Coast and hip-hop. 

Lamar instills a sense of certainty that he is the greatest, demanding recognition from both the industry and those who are in it so that his legacy lives on, or so I have gathered. 

However, “GNX” shows Lamar’s versatility by combining boldness and personality to navigate the conflicts he faces in fame. Likewise, it reflects his deep connection to hip-hop, especially West Coast hip-hop, while maintaining unique techniques and eccentric beats. 

“GNX” revitalizes hip-hop by incorporating elements of jazz, R&B and soul, while preserving its roots, creating a sense of nostalgia.  

Not to mention, songs from Tupac Shakur, Marvin Gaye, Debbie Deb, SWV, Biggie Smalls, Luther Vandross and Cheryl Lynn are sampled throughout. Lamar even interpolated a song from artists Carlos Walker and Lefabian Williams in one of the tracks.  

Integrating these iconic hip-hop figures throughout the album showcases his appreciation and determination to honor the roots of those who inspired him while creating something new.  

Although it was expected to hear some features from SZA, he surprisingly also features artists Dody6, Lefty Gunplay, Wallie the Sensei, Siete7x, Roddy Ricch, AzChike, Hitta J3, Young Threat and Peysoh.  

The dynamic of “GNX” is phenomenal as it presents significant themes and nostalgia. While I appreciated these qualities, it is not my favorite album by Lamar.  

Most of his work tends to be anecdotal, and the tracks reflect it, which is my favorite aspect. Through his lyrics and unconventional flow, Lamar uses an introspective lens to tackle harsh realities, and in his latest album, this seems to be lacking.  

Evidently, “GNX” is expansive; it highlights Lamar’s unique skill set and desire for the recognition he feels he deserves. Overall, it is an exceptional album, especially enjoyable for casual listening. 

I believe that it should be appreciated, not necessarily praised, as it does not evoke emotions in the way that Lamar’s enthusiasts are accustomed to.