Let us post our lil blurbs….
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[6.14]
Charlotte Gaze: Nearly a decade on from “Bodak Yellow,” after the rise and fall of so many once-hyped prospects, a bevy of micro-generations of hip hop coming and going — culminating in what some lament as a mid-2020s “rap recession” — and the most tumultuous power couple hip hop has seen in decades reaching its (hopeful) conclusion, we find Cardi B casually in the top 40 with a winning banger of a single as if no time had passed at all. There’s little desire (nor necessity) to innovate nor complicate: a short, purely onomatopoeic palindrome of a chant is all that’s needed to get the idea across, adorned in the verses by a familiar measure of aggressiveness and pettiness. It seems as though the world can shift many times over, but among the constants in life are Cardi’s instinctive sense of defiance and a public craving for it.
[7]
Julian Axelrod: A decade-plus into her career, Cardi is embracing post-verbal hooks while growing more specific and distinctive as an MC. Some of the disses are devastating on a granular level only rich people can understand.
[7]
Nortey Dowuona: Pardison Fontaine as writer has excellent chemistry w DJ SwanQo, as demonstrated in this trailing off ramble masked as a bop, which allows him to careen on a more stripped back song just stuffing punchline after punchline into a bag, giddy with excitement at rattling each off. But on “Ah Ha”, Cardi and Pardison display a comfort that doesn’t show any of this lively joy at cutting loose, nor the proud chemistry of producing a perfect party favor, just competent, adequate, workmanlike precision. Which is where Pardison shines in the times he gets to cut a record — you can tell rapping is still a job he gets excited to do — but with someone like Cardi, who is meant to be a supernova of personality, workmanlike precision fits poorly. (Not so Kash Doll, who is at ease comfortably assembling, piecing and structuring). Cardi even runs out of steam by the time the third verse shows up, smugly bragging “To get this kinda house, you gotta sell your catalog” — very much an option for Mr. Fontaine, whose own solo music is just as vituperative but with much less brio. Maybe he could quit this job and start another?
[5]
Alfred Soto: She’s been here before but she still owns the place. Pluses: the wobbly synth bass. Double plus: “Black trucks at this club, look like Trump in this bitch — fuck him.”
[7]
Callie Petch: Is the problem me? I think the problem is me. There was a time not too long ago where I would’ve gone gaga for most anything Cardi released. She was just fun to have around, y’know? I still remember the first time I heard her “DING DOOOOOOONG!” on “Press” and just burst out laughing at that signature combination of Bronx attitude and cartoonish ridiculousness. That’s what she used to be able to inspire in me in even second-tier songs. But it’s been a while since Cardi has managed to get that kind of reaction out of me, and it’s hard to know whether the lengthy layoff between Invasion of Privacy and Am I the Drama? or my just getting older is more to blame. Even when I know the track is hot and could kill at parties, like “Ah Ha” would, the hit’s just not the same. DJ SwanQo’s production has a trunk-rattling bounce, Cardi attacks the beat with more pissed-off venom than she’s shown in a hot minute, and “I threw a forty-ball, almost knocked a stripper out” is a solid bar. But I struggle to muster up strong feelings of any persuasion. Maybe if they’d worked in a sample of Ricochet’s “ah ha” somewhere…
[5]
Lichelle: Cardi B’s ghostwriters continue to pick inspiration from their “Bad Bitch Bingo” cards instead of her actual life, because the lyric “A nigga can’t trap me/I won’t keep it” is a lie. A total lie. If you have been pleasantly luxuriating under a rock and are not in any way poisoned by celebrity gossip that has no bearing on your life, see Stefon Diggs. Anyways though, let’s hope that the rumor of a “Not Tonight” redux with a remix featuring Megan Thee Stallion, Kash Doll, Glorilla, and Lil’ Kim is true because this beat deserves more than what it got. That being said, trademark braggadocious playground taunts abound in this track. The “Na-na-na-na-boo-boo” line that completes the track is reminiscent of Magnet’s “A-B-C-D-E-F-G/These bitches can’t fuck with me.” Cardi B is consistent if nothing else. Her strength lies in creating melodies that will worm their way into your brain and words that will fit nicely as a caption for an Instagram selfie. She’s a meme artist (no shade, just facts), as evidenced by that child Zendaya clip laughing now accompanying Cardi B’s (admittedly catchy) “Ah-has.” This song is not only a fitting end for the summer but also for your broke haters. Life’s a year-round beach for her and again, presumably, a bitch (an extremely broke one) for you.
[5]
David Allun Jones: A worthy enough step-sibling to Cardi’s B-list bangers “Enough (Miami)”, “Outside” and “Press”. Yes, the Bodega Baddie still oozes that same slick-tongued, reality star charisma that riddles sticky catchphrases like Uzi-fire (and made “Bodak Yellow” THE hater allergic anthem), but DJ SwanQo’s nondescript trap clatter does beg for either a two verse and done treatment or the added ingredients of an all-female posse cut edit to really make this spark beyond seasonal interest. Hopefully a Kash Doll, Trim, YKNiece or even Trina respond to the Bat-Signal.
[7]