Being heavily influenced by Grande and Lamar, two of the most talented artists in the music industry at the moment, is shown to have had an overwhelmingly positive effect.Īs someone who could never get into his music before, seeing Miller flex his creative muscles is fantastic to see. Tracks like “Stay” and “Skin” are dominated by a freeform saxophone player, and Miller actually drops a few references to the album sporadically in his bars. Many of Lamar’s main collaborators appear on the album, including Bilal, Cee Lo Green and producer Tae Beast, while Lamar himself appears on the hook of closing track “God Is Fair, Sexy Nasty”. While Grande is certainly quite present on the album - she is the subject matter of most of its songs, after all - it would appear that Miller’s biggest influence for going ahead with this idea was Kendrick Lamar’s sprawling opus To Pimp A Butterfly. He doesn’t exactly make much of an attempt to disguise this, either. Here’s to hoping that this is an evolution of his sound, rather than an experimental side project. Although Miller still can’t avoid throwing in some cringeworthy lines here and there, this is a stunning improvement over all of his previous work. New partner Ariana Grande’s influence is all over The Divine Feminine, from the string section-backed introduction (which is begun by Grande stating the album’s title over of a flurry of her giggles) to the catchy hooks scattered throughout.
Miller actually showcases his singing voice for the first time on many songs on this album, and the results are surprisingly great. He abandons the goofy frat-rap which cluttered many of his past releases for a take on smooth and romantic hip-hop music, taking more of an influence from alternative R&B and jazz. Mac Miller takes a complete sonic left turn on this project.
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