Offset’s second solo album, SET IT OFF, ventures into bold terrain, but its ambition often stumbles under the weight of its own inconsistency. The album cover—showing the artist plummeting upside down from a blazing city—suggests a metaphorical break from conventions and a desire to rise above a rap scene he views as stagnant. While Offset’s intent to carve out his unique identity is clear, the execution feels uneven, leaving a collection that teases potential but struggles to fully deliver.
From the outset, SET IT OFF immerses listeners in Offset’s braggadocious world, rich with luxury references and rapid-fire flows. However, the album’s exploration of varied subgenres is more of a meandering journey than a cohesive statement. Offset dips into stylistic experiments but rarely commits deeply enough to establish a distinct artistic voice. Despite moments of brilliance, the project’s 21 tracks lack the focus needed to solidify his position as a solo heavyweight. In a pre-release interview, Offset expressed a desire to inject more personality into his solo work and showcase his creative evolution. This intent surfaces in places, but much of the album defaults to the familiar trap anthems that have defined his career. The result is a bloated tracklist that occasionally sparkles but often feels like a missed opportunity. Offset commendably avoids overindulging in personal drama despite his high-profile marriage to Cardi B and his frequent presence in tabloid headlines. Yet, the absence of deeply reflective content leaves a void that the album’s repetitive flexes struggle to fill. Lines like “You could be my engineer shorty, how you bounce it” and “Diamonds on my neck, that shit pure water like a fountain” pepper tracks like “FAN” but fail to elevate the material. Even more introspective moments, such as “You supposed to hold me down, but it didn’t happen / Now I’m over it” on “NIGHT VISION,” feel shallow without further exploration.
The album’s opening trio of tracks hints at the range Offset is capable of, but the sequencing that follows disrupts its momentum. On “ON THE RIVER,” Offset briefly touches on his split from Migos, stating, “I became the one when I got out the group.” While this assertion highlights his sense of creative liberation, much of the tracklist falls back on formulaic approaches that fail to capitalize on this newfound freedom. Offset’s strength lies in his intricate flows and nuanced wordplay, but here, they are too often overshadowed by predictable tropes. Moments of vulnerability, such as “WORTH IT,” offer a glimpse into Offset’s potential for emotional depth. Over ethereal guitar chords, he delves into the struggles of love and commitment, demonstrating a desire for growth. However, tracks like “FREAKY” lean heavily on repetitive hooks, and even his collaboration with Cardi B on “JEALOUSY” feels underwhelming, failing to capitalize on their undeniable chemistry. Offset’s forays into other artists’ sonic territories yield mixed results. On “HOP OUT THE VAN,” his use of high-pitched cadences and Auto-Tune evokes Playboi Carti, while “DOPE BOY” channels Young Nudy’s grimy aesthetic. The dark, brooding instrumental of “I’M ON” carries echoes of Drake’s Dark Lane Demo Tapes, but Offset’s assertion that “I won’t fall off” feels more defensive than triumphant. These ventures highlight his willingness to experiment but also expose the difficulty of balancing innovation with authenticity. The closing track, “UPSIDE DOWN,” finds Offset reminding listeners, “I’m only human.” It’s a poignant sentiment that encapsulates the album’s overarching narrative of striving for growth amidst imperfection. While SET IT OFF offers glimpses of the artist Offset aspires to be, it ultimately falls short of cementing his solo legacy. For now, his strongest foothold remains tied to the Migos, leaving his individual journey a work in progress.