Baby Keem dropped “Ca$ino,” his second studio album, Feb. 20. The 25 year old rapper, singer and producer has been framed by fans and the industry as rap’s young child prodigy — the next big thing.
Before he was even 18, he already had contribution credits for Beyoncé and Kendrick Lamar, working on the “Black Panther” soundtrack. It certainly helped that he was cousins with Lamar, but Keem was able to craft viral sensations like “ORANGE SODA” entirely on his own.
All of this is why it’s so strange that after releasing his debut album, “The Melodic Blue” in 2021, Baby Keem stayed relatively quiet. Aside from a deluxe for his album, and the occasional single, he was silent — a bold decision for the rising star.
“No Security,” the first track off “Ca$ino” offers an explanation. Keem, known usually as a hype man and hit-maker, comes through with one of his most poignant songs. He creates an emotional story detailing his struggle with mental health and his personal growth during his absence from music.
In contrast, the title track bursts through like a boulder with a wicked trap beat. This is a more conventional Keem song, where he declares his return through his usual boastful bars and wild vocal inflections.
Still, with a beat change halfway through the song, Baby Keem touches meaningfully on his trauma. He talks about his grandma’s death and hitting rock bottom, all while keeping the song engaging with his energetic yet emotional vocal performance.
On “Birds & the Bees,” a notably lighter track, Keem brings a carefree energy but manages to never feel unfocused. While memorably sweet production is nothing new for Keem, the way he guides this track with nimble and catchy flows marks a notable improvement from earlier rapping in his career.
“Good Flirts,” is another very playful cut, this time veering into RnB and pop-rap territory. Keem offers smooth rapping as well as impressive singing, which is all accompanied by a memorable chorus from Momo Boyd.
It was obvious Kendrick Lamar would show up somewhere on “Ca$ino,” but he’s still able to defy expectations with his appearance on this track. Kendrick is at his most spirited, laying out frisky rhymes with an attitude and cadence that wouldn’t be seen in his solo projects.
The energy kicks up again with “House Money,” where the trap beat works at operatic levels. Acapella singing paired with booming bass in the production gives the song a chilling quality, highlighting Keem’s squeaky vocals.
“I am not a Lyricist,” ironically, is a lyrical high point of the album. Keem gives a more restrained vocal performance, discussing his upbringing as well as his ambition with some of his best rapping to date.
This is also where the title of the album, “Ca$ino,” comes to life, with Keem talking about different kinds of gambles. He mentions the idiotic ways people gamble their lives, but the song as a whole is about Keem gambling and winning the lottery: making it in music.
Too $hort joins Baby Keem on “$ex Appeal,” the most obvious attempt to create a “hit” in the album. The song is simple, fun and catchy, without overstaying its welcome. Still, it feels like a weak cut, especially with its placement between some of the most emotionally charged tracks.
With “Highway 95 pt.2,” Keem paints a perfect picture of driving on the highway late at night. He repeats a short but emotional verse about reckoning with his childhood trauma, and the production gives the song a haunting quality. It’s sparse and moody, with a single voice trailing off in the background at certain moments
“Circus Circus Freestyle” is another trap spectacle in the same vein as “Ca$ino” or “House Money.” This is Keem at his quickest and most passionate, asserting his place in the rap scene over truly sinister production. He also harkens back to his older, more comedic bars, by comparing himself to a caveman with “Booga wooga” rhymes.
This leads into “Dramatic Girl,” one of the most unique tracks, a bright and sugary pop cut. Keem channels the often untamed, childlike energy from his music into this airy love song. Che Ecru also appears, delivering a sweet, albeit brief, verse.
Keem returns to a poignant note with the last track, “No Blame.” He ruminates on his tumultuous relationship with his mom over simple piano-focused production.
By the end, he sounds defeated, repeating “I don’t blame you, mama.” It’s not his most complex song in terms of lyrics or music, but the repetition of certain phrases makes it truly emotional, much in the same way as “Highway 95 pt.2.”
Overall, Baby Keem’s sophomore album improves upon the first in many ways. It features his best lyricism by far, as well as his most interesting and unique production moments. The storytelling is also unlike his past work, making the album feel like a defined cohesive journey.
“Ca$ino” balances its highs and lows, much like the lottery. For every visceral, emotional loss, there is a triumphant win, each one more satisfying than the last. Even though Keem ended the album on a low note, he isn’t done playing.
