STAR LINE
Is Chance The Rapper Underrated?
Why isn’t STAR LINE being discussed more widely? Have I been completely out of the loop, or is this another modern classic quietly being overlooked because Chance the Rapper is independent and not backed by a major-label machine placing him on every platform?
I don’t claim to be the final authority on what’s hot and what’s not in music. But I do possess a deep love and respect for hip hop, first as a fan, and secondly as a fellow creative. With that comes a belief that my perspective on music is at least worth consideration. Art may be limitless, but hip hop, in my mind, still carries a standard. Sometimes it’s about carefree vibes, infectious energy, and loosely structured brilliance. Other times, it’s about intention, heartfelt, life-altering expression rooted in truth. STAR LINE firmly belongs in the latter category.
This album wasn’t merely created, it was curated. Every element feels deliberate: the beat selection, song titles, themes, tone, flows, and especially the strategic choices behind features and collaborations. This isn’t a collection of loosely connected tracks stitched together under a random title. It’s a focused body of work that speaks directly to everyday emotion and lived experience.
Some albums are good, even great, but require the right mood. STAR LINE is always the right mood. It works solo, with friends, with a lover, with family, with the street-oriented listener, and with the faithful. From “Star Side” to “Speed of Love,” the album takes you on a journey you don’t want to end. By the time the third track, “No More Old Men,” arrives, I was fully convinced. Chance the Rapper and Jamila Woods paired together like peanut butter and jelly on a day when the fridge is empty. They just worked. “Negro Problems” was like the last two packs of noodles after those peanut sandwiches are gone: exactly what you need to make it through another day.
That imagery matters, because after those first five tracks, I found myself in a calm, reflective space until track six, “Drapetomania,” abruptly disrupted the introspection with a more aggressive, club-ready sound. Initially, I wanted to skip it. The beat shifted my mood too sharply. But giving it a chance revealed the album’s true turning point. This was the moment I realized Chance is a genius.
Here, Chance positions himself as the bridge between two Chicagos. On one side, there’s the lineage of Common, Do or Die, and Kanye West. On the other, the modern drill-era energy of Chief Keef, Lil Durk, and King Von. Though the production suggests a hard left turn, the lyrical substance stayed the course. Chance manages to merge these opposing worlds without sacrificing his integrity, his brand, or his message. He steps into the youth’s world and brings them back to his world. ChiefBabyDoIt rises to the occasion, representing the next generation effectively. It’s a genuine work of art.
The momentum continues with Vic Mensa’s verse on “Back to the Go,” a song that feels deeply personal to my current state of mind. If I had a daily theme song, this would be it. That energy flows seamlessly into “The Highs & The Lows” featuring Joey Bada$$; a pairing that’s almost impossible to get wrong. At this point, after so many standout records, I wondered whether the album might begin to taper off.
“Space in Time” is solid. “Link in the Future” is exceptional, especially for the poet in me. “Gun in Yo Purse,” featuring Young Thug and TiaCorine, was my least favorite track on the album. Still, much like “Drapetomania,” it reinforced Chance’s unique ability to collaborate with artists whose styles sharply contrast his own, yet still create music unified by a shared subject matter and purpose.
That collaborative vision peaks again when Chance follows up with Lil Wayne and Smino. Naturally, the song revolves around drugs, but it’s layered with subtle social and political commentary. Wayne sounds fully engaged either out of genuine respect for Chance or because he loved the record so much he nearly took it over. Smino’s presence, as expected, feels perfectly suited to the atmosphere.
By the time “Burn Yo Block” plays, I’m 13 tracks deep and expecting the album to coast safely toward the finish line. Surely assuming the best moments are behind me. Then “Letters” comes on and completely shatters that assumption. I nearly pulled my hair out, and I’m bald. Appropriately titled, it’s arguably the best-written song on the album. Bold and confrontational, it sparks the uncomfortable yet necessary conversations around religion, politics, and life in between. After finishing the album, “Letters,” “No More Old Men,” and “Negro Problems” were immediately placed on repeat.
The project also features two of my favorite vocalists BJ the Chicago Kid and Jazmine Sullivan. Both delivered soul-stirring performances. Their contributions add depth and emotional weight. Frankly, this album felt too valuable to be consumed for free on YouTube. While artists are compensated through streams, this experience felt like the kind of album you’d happily pay $17.99 for at a record store after an hour of listening to snippets.
And finally, Chance closes out the experience by featuring the man, the myth, the legend, Jay Electronica, on “Just a Drop,” delivering a verse that feels divinely authored.
Very few albums can hold my attention long enough for a front-to-back listen. To Pimp a Butterfly, Michael, and Let God Sort Em Out are among the short list of instant classics I’ve experienced in the past decade. STAR LINE belongs in this conversation and deserves to be mentioned alongside the greats.
Justin C. Hamby
@deycallmesoul
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