Birds In The Trap… only compounds this justification as Scott brings in a who’s who of popular and experimental music into the fold. Scott’s ability to pull in disparate influences and collaborators is (near) unmatched in popular rap right now (Khaled serving as his one chief competitor), and this ability is one of the banner reasons to listen to a Scott album. Travis Scott is the DJ Khaled of trap rap, less a true creative force and more a master curator. But these critiques and comparisons belie Scott’s greatest strength: his synthesis.
As a rapper, he’s equal parts Kanye and Drake, just as likely to get political as he is personal, vindictive as he is vulnerable. One of the biggest complaints leveled against Scott for the duration of his major label career is that he’s not really a presence. However, he does again produce material that, while not necessarily A-level, will no doubt color the airwaves in the year(s) to come. Fortunately for biters like Tory Lanez and Lil Uzi Vert, Scott doesn’t do much to push the envelope on Birds in the Trap Sing McKnight. It begs the question of how his A-level material would affect the game. Scott’s C-level material was zeitgeist-shifting. So, almost exactly one year post-hence, Scott’s second studio effort somehow has even higher expectations appended to it. Somehow, one of rap music’s most high profile disappointments became the template for contemporary rap. But in the last year, the sounds and sentiments of Scott’s piecemeal effort have become the reigning sounds in hip-hop, being co-opted by everyone from Lil Yachty to Rihanna. When Pitchfork gave it a 6, it was hard for anyone to find fault in it. At the time, Rodeo was easily the most overhyped and underwhelming project to bear Scott (and to a lesser degree Kanye West’s) name. It’s hard to write about Travis Scott’s debut outing nowadays. Review Summary: La Flame manages just enough fire.
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