Doja Cat’s latest album, Scarlet, directly addresses the long-standing question: Is she truly a rapper? For anyone who has ever doubted her rap credentials, Scarlet serves as a bold declaration of her skills and her right to be multifaceted and, yes, even difficult. The album postures as “difficult art,” aiming for high praise, but the question remains: Does Scarlet actually deliver on this ambition? While conceptually intriguing, drawing parallels to Rico Nasty’s aggressive Anger Management and Taylor Swift’s image-redefining Reputation, Scarlet often feels more concerned with online discourse than genuine artistic depth. This focus on social media buzz may prevent it from achieving the blockbuster status it seems to crave.
Doja Cat has previously downplayed the rapper label, stating, “it’s fine if people think that I can’t rap.” However, Scarlet, initially titled First of All, suggests a shift in perspective. Her deleted-but-not-forgotten tweets from spring 2023, where she acknowledged that “the majority of my rap verses are mid and corny,” further fueled speculation about her artistic direction. Scarlet emerges as her response, embracing a more traditional hip-hop sound. The album’s sonic landscape is heavily influenced by 90s boom-bap, updated with contemporary elements of sample drill, rage, and cloud rap. The production credits feature notable names like Earl on the Beat, a frequent collaborator of Lil Yachty, who contributed to four tracks, including the hit singles “Paint the Town Red” and the dreamy “Agora Hills.” Jay Versace adds a West Coast flavor, channeling classic California hip-hop on “97” and the L.A. beat scene on “Often.” Scarlet isn’t shy about sampling, incorporating iconic sounds like the Ric Flair soundbite on “Balut” and a Dionne Warwick sample, courtesy of Earl on the Beat, in the opening track “Paint the Town Red.” This No. 1 hit, perfectly embodying her horrorcore persona with its fake blood and unapologetic attitude, sets the tone for the album.
However, beyond the initial singles “Paint the Town Red” and “Demons,” Scarlet descends into a somewhat monotonous sequence of tracks that echo the energy of the singles but with diminishing impact. While Doja Cat’s vocal performance remains versatile, showcasing her range from sweet falsetto to a deep nasal delivery, her songwriting occasionally falters. Lyrics can veer into simplistic insults (“You look like a butter face”) or business-bragging on tracks like “Love Life,” lacking the depth expected from “difficult art.” The album includes subtle jabs, like the rumored Remy Ma diss on “Ouchies”—a response to Remy Ma’s earlier comments questioning Doja’s rap credibility, which reportedly led to online backlash from Doja Cat’s fanbase. Furthermore, Doja engages directly with her “extremist” superfans, addressing minor controversies and seemingly acknowledging the attention, even negative, that she generates.
In conclusion, Scarlet undeniably showcases Doja Cat’s rapping ability and her ambition to be taken seriously within the hip-hop genre. The album features strong production and moments of vocal dynamism. However, Scarlet‘s preoccupation with proving doubters wrong and its reactive nature sometimes overshadow its artistic merit. While it may not be the “difficult art” masterpiece it aims to be, Scarlet is a clear statement from Doja Cat: she’s here to rap, and she’s not afraid to stir up controversy while doing it.
