Before this year, Kirshnik Ball — better known as Migos’ Takeoff — was perhaps best known for his outrageous ad-libs and the “left off ‘Bad & Boujee’” meme. It’s obviously not something that bothers him too immensely; while he took at least partial offense to Joe Budden’s red carpet interview walkout, it’s not like he’s put a massive effort into becoming more of a fixture on the solo circuit.
And while longtime Migos fans recognized Takeoff as the sinew driving the trio’s lyrical engine with his syllable-stacked verses and machine-gun flows, casual fans were only exposed to that knowledge with the release of Culture II earlier this year. Now that the crew has vaulted into the public consciousness as legitimate pop figures, it stands to reason that Takeoff would finally begin to get his long-delayed due.
First, though, it seemed the waters needed to be tested. Quavo kicked off the solo release festivities just weeks ago with Quavo Huncho. While it wasn’t successful on the same soaring order of Culture, despite packing nearly as hefty a tracklist as the second version of the trio’s full-length, it was enough to prove that the three amigos could stand on their own — at least a bit.
While it turned out Quavo didn’t quite have the arm strength to carry a full project by himself, it looks like his cousin Takeoff learned from the missteps of the more melodically-inclined Huncho, however slight they may have been, in order to meet the standards set by the trio’s biggest star. His own solo project, The Last Rocket arrived amid a bustling release weekend that included a number of other big names, but it proves Takeoff and his rapid-fire raps have the legs to stand on their own, perhaps best of all out of the trio.
From its outset, The Last Rocket plays well to its protagonist’s strengths. There’s less warbling than Quavo Huncho, despite an appearance from the de facto Migos leader on “She Gon Wink” to set the mood. Otherwise, features are kept to a minimum, as are the tracklist and musical variation. While they may sound like a problem in the era of “more is more” and rappers dabbling in every genre from emo to afrobeats, it actually keeps things enjoyably simple and firmly places the focus where it should be: On the oft-underappreciated flow of the Migos’ best technical rapper.