And finally, a bit of friendly grime…
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[6.50]
Eleanor Graham: In his review of “Did You See”, Stephen wrote about the phenomenon of “an artist’s happiness translat[ing] well onto a recording”. I can’t think of a more enjoyable example of this than “Samantha”. From the assuredness of the piano-backed hook to the Dave and Samantha joke, it unfolds like a slow, easy grin. 19-year-old Dave is known for his earnest lyricism, J Hus for his impenetrable bravado. Here the two honour each other’s styles in a festival of endearing post-Drake triumphalism: “she told me she loved me but really I don’t even know if she meant it/and if feds pull this whip, that’s numerous offences” is a sample gear-change. It would be facile to read something political into it just because the artists are black and working-class – perhaps it would be facetious to read anything political into a song that contains the lyrics “my girl don’t wanna stop for a chat/then I’m on to her friends like Joey and Ross” – but it’s worth noting the joy of listening to the victory lap of two people you were actually rooting for.
[9]
Will Rivitz: You know how Stormzy’s album sucked? How the fervor the MC normally cultivates so well was left out to rot in favor of an uninspiring off-Chance collection of hymnals which were somehow even less exciting than the blocky, simple-minded paeans of Coloring Book? “Samantha” is like Gang Signs & Prayer musically, except crossed with the instrumental sensibilities of the opening track off the Hamilton soundtrack and featuring verses worse than even the most dismal wordsmithing off either of those two sources. By the time the track finds its footing midway through the second verse, it’s too late.
[3]
Nortey Dowuona: Stunned, frozen piano chords drop in and out as the bouncy bass and ballooning drums rise under J Hus’s light, raspy voice and simmer slowly under Dave’s cool, bitter murmur, which hides away, tucked in the corners of the song.
[8]
Iain Mew: The numerous shifts and threads dropped and only occasionally picked up mean that “Samantha” treads a line between freewheeling and aimless. There’s something charming about them just shooting the breeze, though, especially the couple of times when a laugh almost slips through mid-word.
[6]
Ryo Miyauchi: One of my favorite things about J Hus is how he calls himself “ugly” with a sense of pride. That put-down-turned-nickname extends beyond his looks here: “I was never the cool kid, more like strange and awkward”; “but I’m not your type, more like your life.” He still can’t help it to build himself up, though his showboating never comes close in power to his wholesomeness.
[7]
Ashley John: “Samantha” is a smirking grin between friends at a party that is way lamer than promised as you both knock back the rest of your beers and head for the dance floor to embarrass everyone else there.
[6]