Childish Gambino, 3.15.20 | Album Review 💿

The multi-talented Donald Glover delivers an absolute masterpiece with his fourth Childish Gambino studio album, 3.15.20. 

“But stay woke / Ni**as creepin’ / They gon’ find you / Gon’ catch you sleepin’.” Sigh, that’s just one of many fantastic lines from the multitalented Donald Glover, who releases music as Childish Gambino.  “Redbone” was one of the best songs of not only 2016, but the 2010s in general.  The same could be said of “This is America”, a song that earned Glover Grammys for both Record and Song of the Year.  Following up the success of his 2016 album, “Awaken, My Love!” as well as “This is America” is a tall task.  He clearly exceeds expectations on his fourth studio album, 3.15.20.  3.15.20 is an example of a highly anticipated album in which the artist completely ‘throws a curveball’ yet far exceeds expectations.  What I’m saying is, 3.15.20 is nothing short of a masterpiece.

“0.00” 

“0.00” sets the tone for 3.15.20, period. How so? Well, this left of center opener, featuring only the repetitive lyrics, “We are, we are, we are,” establishes the unpredictable nature of the LP.  Musically, it’s enigmatic, spacey, and utterly bizarre.  At the same time, it’s quite ear-catching and differentiates itself from, well, everything.  Follow-up “Algorhythm” is also completely surprising in about every way, but we get more lyrics from Childish Gambino.  Furthermore, the listener is blessed with an infectious groove, even where the ear is trying to completely adjust to the ambition Glover throws at us.  Worth mentioning, the energy he brings – even through plenty of vocal effects – is notable, not to mention a surprising hooky, sung chorus:

“Everybody (Everybody), move your body, now do it (now do it)
Here is something (ooh), that’s gonna make you move and groove
(Please don’t lose that tempo)
Algorhythm
(Moving how they move so)
Algorhythm).”

After some stability is established on “Algorhythm,” the ending goes haywire, keeping a sense of surprise alive.  Eventually, that returning instability establishes “Time,” an enjoyable R&B record that keeps ‘one foot in the door’ of the past, yet also feels more than welcome in 2020. Notably, Ariana Grande guests, lending her angelic vocals on a couple of verses.  Interestingly, she arrives suddenly, segueing from the opening verse by Childish Gambino. Speaking of angels, Brent Jones & The Best Life Singers also grace this track, bringing some gospel vibes to this throwback gem.  Even so, the choir appears in muted fashion – quite experimental. As for Glover, the listener hears him quite ‘uniquely,’ thanks to various effects, layering, and experimentation.

“12.38”

“She said, ‘Eat this psilocybin, I’m be right back’ / I’m like, ‘Aight’ (Aight) / ‘Ayy, I don’t know what psilocybin is’ (No) / ‘This better not be no molly’ / She just laughed and closed the door…” WTF?! 3.15.20 continues its weird but utterly fascinating journey with “12.38.”  Here, Childish Gambino oscillates between rapping and singing.  Stylistically, at its simplest, “12.38” lies somewhere between hip-hop and R&B but exemplifies eclecticism.  Thematically, the subject matter is universal – sex.  Once more, Glover brings friends along for the ride: Ink, Kadhja Bonet, and most notably, fellow Grammy winner, 21 Savage. While 21’s deadpan approach remains intact, even his vocals are treated with effects, keeping the ambitious, experimental vibes going strong.

You could mistake follow-up “19.10” for a Prince song, or at least and updated, contemporary version.  It’s no straight-up copycat, but the influence is inescapable for Childish Gambino, who even nails the falsetto.  What makes “19.10” another bop on 3.15.20 is an infectious groove, and for all of the experimental sounds (colorful, funky, and psychedelic), another catchy chorus:

“To be beautiful is to be hunted
I can’t change the truth; I can’t get you used to this
No, no, no, no, yeah, yeah, yeah, yeah…”

What does become at least somewhat predictable about an unpredictable album like 3.15.20 are the embedded interludes that segue to the next record.  The end of “19.10” connects with “24.19,” yet still, did we expect a ballad like the gorgeous ‘Sweet Thing.’ Even as radiant and sweet as “24.19” ends up being instrumentally and vocally, there’s are still plenty of sound stimuli.  An expressive Glover brings additional attention to himself thanks to a barrage of studio tools.  Is he gifted enough to thrive without them? Of course, but in the spirit of pushing boundaries and opting against either a straight-ahead rap or R&B album, him and his producers play with the sounds.  The effect of “24.19” is ultimately still an accomplished, contemporary soul record.

“32.22”

For the most part, “24.19” was ‘straightforward,’ at least in the context of 3.15.20.  The interlude connecting it to “32.22” certainly IS NOT straightforward, keeping the listener on his/her toes.  “32.22” maintains that innovative, left of center spirit throughout its course – it’s one of the odder, WTF moments.  Adding to the allure are the wacky synths, pummeling drums, a bit of African/world music/tribal touches, and a totally wild Childish Gambino.  Even after listening to this one a couple of times, it’s still zany – in the most artistic way possible, of course.

“Little Foot, Big Foot, get out the way / I’ma show y’all how to move this yay / I’ma show y’all how to move like this / I’ma show y’all that a move ain’t, woo.” Moving from absolutely wild (though exhilarating), “35.31” brings 3.15.20 back into infectious territory.  Sure, the animal sound effects are surprising, but they fit this joint that’s all about a boy hustling.  Besides the awesome production by DJ Dahi, the thing that makes “35.31” among the crème de la crème is Childish Gambino himself, who’s personality is through the roof here.

“39.28” (“Why Go to the Party”) is notable for its rich vocal layers and the jazzy accompanying harmonies.  It’s another left of center moment for Glover, even though there are standard sections – chorus and verses.  Even with these sections in place, Childish Gambino continues to stretch the listener’s ears in seemingly every way possible, whether it’s musically, lyrically, and/or vocally. “39.28” doesn’t supplant the alarmingly catchy hustle of “35.31,” but it marks another ear catching achievement on the talented musician’s part.

“42.26” 

2018 single “Feels Like Summer” arrives on 3.15.20 as “42.26.” A familiar track in the context of the album, there’s still plenty to rave about.  Furthermore, if the experimentation was too much on other records, the more standard, throwback vibes of “Feels Like Summer” provide much needed balance.  The overall production of “Feels Like Summer” is superb, giving Glover a rhythmic, soulful backdrop to sing over. He continues to compel vocally, particularly when incorporating falsetto.  Furthermore, smooth backing vocals accentuating the brilliance of his lead.  The chorus is feel-good and catchy.  The tempo is slow, yet incredibly groovy.

The funky “47.48” appears as the penultimate record, maintaining the soulful identity established on 3.15.20.  Thematically, Childish Gambino opts for a socially conscious direction, focusing on living ‘now’ as opposed to the future. “Don’t worry ‘bout tomorrow / The violence, the violence,” he sings on the simple but thoughtful chorus.  Even so, he also highlights the issues plaguing the world.  Notably, he has a conversation with his son, Legend Glover on thee outro.

The jubilant “53.49” closes out 3.15.20 with an absolutely bullet – BANG! On this splendid joint, Childish Gambino is aggressive AF – turned up from the onset as he raps intensely on the verses (“I’m just tryna put the spirt in your Yeezy Boosts / Get your cup, it runneth over once I got the juice”).  Then, he contrasts, singing absolutely gorgeously on the chorus.

“There is love in every moment
Under the sun, boy
I did what I wanted to
There is love in every moment
Under the sun, boy
You do what you wanna do.”

On the first chorus he showcases restraint, while the second finds him digging in, flaunting that otherworldly grit and ripe falsetto.  Ultimately, life is great for Donald Glover, and “53.49” exemplifies such.  Bravo.

Final Thoughts

Was 3.15.20 the album anybody was expecting from Childish Gambino? Absolutely not, but boy, am I thrilled that this is what one of the most talented people in the world released.  3.15.20 is an instant classic – wild and unpredictable, but intriguingly and entertainingly so. This is not intended as a commercial affair, yet, Glover gives us hook after hook in spite of this.  There are just so many contradictions, experiments, and surprises on 3.15.20 that you catch something you missed with each successive listen.  No, it won’t tickle everybody’s fancy – it’s polarizing – but as for me and my ears, I’m absolutely loving it.  

Gems: “Algorhythm,” “Time,” “12.38,” “35.31,” “42.26” & “53.49”

Childish Gambino • 3.15.20 • mcDJ Recording /RCA • Release: 3.22.20

Photo Credits: mcDJ Recording / RCA