Album Review: Glorious by GloRilla
Big Glo has been very successful this year, but can she continue her ongoing streak with her anticipated debut album?
GloRilla’s mettle turns everyday retail shifts into electrifying virtual concerts, revealing the charm that enraptures her fans. Growing up in Memphis, she was a choir girl who found adventure with the neighborhood’s lively kids. After making waves with the crunk anthem “F.N.F. (Let’s Go)” and the Cardi B-assisted powerhouse “Tomorrow 2,” she transforms adversity into armor and gold chains on her 2022 debut EP. Despite the industry’s tendency to pit female rappers against one another, GloRilla has become a diplomat. Friendship and solidarity shine in her music videos, live performances, and collaborations. A Glo production isn’t complete without her best friend and long-time collaborator, Gloss Up, making an appearance.
Jumping ahead to 2024, on “Yeah Glo!,” she showcases her signature Memphis style and her infamous “Curban on Curban.” GloRilla asserts dominance over critics, flaunts her opulent lifestyle, and delivers a hook that clings like glue. Its unapologetic swagger invites everyone to share her spotlight. As a commanding album opener, it sets the stage for the fearless rap star. GloRilla fully embraces her own boldness. Collaboration is central in her April release, Ehhthang Ehhthang. Whether it’s the undeniable chemistry with MoneyBagg Yo on “All Dere” or the fierce energy alongside Megan Thee Stallion on “Wanna Be,” she thrives alongside fellow artists. These partnerships border on enchanting, highlighting the impact of shared creativity.
Memphis often sits in the shadows when discussions of rap capitals arise, but the city's influence runs deep. In the 2000s, Yo Gotti and the late Young Dolph rose to prominence, laying the groundwork for a new generation. Following the trail blazed by Three 6 Mafia’s Gangsta Boo and La Chat—women who injected ‘90s Southern rap with unapologetic raunch—GloRilla carves her own path. Her thunderous delivery over earth-shaking drums, ominous pianos, and sharp snares could inspire even the meek to rebellion on her anticipated debut album, Glorious. Speculation swirls, but we can already sense that “TGIF” ranks among the finest tracks she’s crafted so far. Yet beneath her radiant smile lies a depth of emotion and pain.
As soon as the “Intro” kicks on, Glo starts reminiscing on her humble beginnings (“Back when I worked at Checkers/Prayin’ I make it through it”) to signing with Gotti’s CMG label (“Me and Gotti solid, the same vision, the same mission/Roll up by the pound now, poppin’ out in yo’ town now”). “Stop Playing” has a bubbly, bouncy beat, but her delivery and bravado make it one of the shining moments on the album detailing her success, having a fit with devious men and motivation for the girls: “Every tie that I’m on the stage or doin’ an interview for the radio/I do it for the girls thought they couldn’t do it, I’m doin’ this for all the baby Glo’s.” The SkipOnDaBeat and FNZ-produced “Hollon” provide an anthemic and rebellious expression of confidence and autonomy, which continues with “I Ain’t Going,” Isaac Hayes-flipped “Let Her Cook,” “Step” with Bossman Dlow, and “How I Look” where she and Megan Thee Stallion go three-for-three. The minor knock on this 808-knocking, piano, and string-laced song is that it’s too short!
The exceptional track “Rain Down on Me” features Kirk Franklin (with the help of Kierra Sheard, Chandler Moore, and Maverick City Music), her favorite gospel artist growing up, whom she met at the Grammys Awards, and the collaboration meant everything to her, as stated on the New York Times interview. Living by her real name (Gloria Hallelujah Woods) and the album title, she starts feeling like she’s ‘God’s favorite,’ and it’s the best feeling ever. Who wouldn’t feel that way? We got Kiki singing like her life always depends on it, with Chandler helping out and Kirk Franklin doing what he does best preaching to the choir. Glorious does a pretty good job of detailing GloRilla as a multifaceted artist. While her EPs highlight her promise, this debut album gives us hope. Like on “Queen of Memphis,” where she raps, “Put my myself first was my best decision/Now I’m hard on niggas, this is defense mechanism.”
Latto shows up on the empowerment and self-worth banger “Procedure,” where the former asserts her unapologetic attitude toward hedonism and scrutiny of genuine intentions, as Big Glo’s performance is assertive and direct over a Supah Mario melodic backdrop, or when she’s asking the Lord for forgiveness on “Glo’s Prayer” with moments of introspection: “Got me feelin’ like a dummy when I know I’m smarter (I know dat)/The only man that showed me love correctly was my father (Facts).” However, “I Luv Her” features T-Pain, and you can file this under the file of ‘filler tracks’ for another generic mainstream love track, but again, Glo does not sacrifice who she is as a rapper the same way “Don’t Deserve,” which conversely, works better with Muni Long. “Whatchu Kno About Me” reworks “Wipe Me Down,” but it feels too on the nose to prevent it from being a standout, and Sexyy Red fits nicely with the beat.
GloRilla steps into this lineage, challenging rigid perceptions with her powerful voice, distinct delivery, and unapologetic style. Some short-sighted critics label her as masculine, weaponizing outdated binaries to undermine her and set her against her peers. Misogynists point to her as evidence that women don’t need to lean into sexuality to find success in hip-hop, while others claim she lacks femininity. Yet, she embodies the essence of Memphis women whose street savvy and readiness for confrontation have always intertwined with their womanhood. It strikes a stirring chord when she channels that eagerness through her resounding voice across this project, but if she continues to harness this force to inspire, she is poised to be the voice of her generation.
Great (★★★★☆)
Favorite Track(s): “Stop Playing,” “Rain Down On Me,” “Glo’s Prayer”