DaBaby, born Jonathan Kirk, has come out and apologized for these actions, but has also made it clear that he feels he was provoked to act this way. I am not in the business of discerning whether Kirk was in the right or wrong for his actions, but I do think it is important to consider the context and add color to an event like an album release. Now, just under seven months following his previous effort, Kirk, he arrives with his third studio album, Blame It on Baby.

The release of this album feels opportunistic for Kirk. Internet debate about the quality of Kirk’s music has been extremely kinetic. On one hand, detractors are quick to point out his signature flow and cadence being repetitive and boring. On the other hand, supporters will retort that this is his style and he is the only rapper who can not only do it, but do it well.

Further, at a time when many artists are pushing back their releases and coinciding rollout plans in the wake of the COVID-19 pandemic, Kirk seems to have decided to buck the trend and drop his music while others scramble to change their plans. A savvy move from the relative newcomer, he was quick to point out on Twitter that the album, which features Kirk wearing a protective facemask on its cover art, garnered 25 million streams in the first 30 minutes after it was released.

As with many projects that are released hastily in order to take advantage of an opportunity, much of the music on the album feels half-baked. There are many ideas on this record that, with the benefit of time and the ability to see it through, could have been developed into good songs. His responses to criticisms about his repetitious flow manifest themselves in the form of auto-tuned melodies. They aren’t terrible – “ROCKSTAR” sees Kirk deploy a catchy chorus over a pretty acoustic-trap beat. “DROP” is similar, with a hook that’s easy to sing along to and the dependable A Boogie comes through with a decent if unspectacular verse over a submerged vocal sample. They also aren’t great – “SAD SH*T” is a lackluster attempt at heartfelt vulnerability. On it, he sounds like a Kirkland brand Kevin Gates. No pun intended.

These songs are as average as can be. Had they not been rushed out to take advantage of the current moment, it’s possible that they could have been worked into something more memorable.

The best tracks come when Kirk throws caution to the wind and deploys his signature style without a care for online criticism. “JUMP” is a fun, larger-than-life banger that sees Kirk and YoungBoy Never Broke Again addictively weave their raps together. It makes for a record that surprises with unexpected freshness no matter how many times you play it. “TALK ABOUT IT” isn’t anything like a typical DaBaby song, with a sporty, relatively slow, slinky beat. But Kirk’s aggression over the top of its midtempo glide isn’t too far outside the radius of his comfort zone. It feels as though he’s doing what makes him special instead of trying to prove naysayers wrong.

But for every highlight, there’s a corresponding track in which it’s evident the criticism has creeped its way into Kirk’s creative thought process. Credit to Kirk and his team for being savvy enough to make the most of what the world’s current situation is. However, the gain in streams, followers, and RIAA certifications DaBaby and his camp are likely to see from this approach come with the sacrifice of the idiosyncratic and durable nature of his previous work. I guess I can always go back and listen to “Suge”.