Tom MacDonald: “LeeAnn’s Son” (Album Review)

Tom MacDonald has been one of my least favorite artists for a while now. I could talk about how poorly constructed his raps are, or how most of his talking points are purely for the sake of being an edgy contrarian, but it’s easier to just call it “very bad”. However, this was just the impression I got from him when listening to his biggest hits. I’ve never truly looked into his music beyond my surface level cringing. I thought it would be funny to go through MacDonald’s three studio albums and see how, if at all, my opinion of him changes. The second I started this little project and pressed play, I knew what a mistake this was.

LeeAnn’s Son was a strange start to my experience. After listening to the intro, my first thought was not what I was expecting at all. It was something along the lines of, “The production here is genuinely great.” Unfortunately, while the production is easily the best aspect of the album, it is hardly consistent. There’s some interesting sounds that really do uplift the album purely by how unique they are, but ultimately they’re wasted on a rapper who doesn’t know what to do on them. Tracks such as “LeeAnn’s Son” and “Gun Talk” are ruined by MacDonald’s lackluster writing and inability to leave his comfort zone. Listening to the majority of the album, which is filled with beats that range from standard to annoying, highlights how little MacDonald is able to do. 

MacDonald is just plain and generic. His cadence and flow rarely changes, and the changes that happen aren’t meaningful. So much of the album feels like a lull that blends together, with none of his raps packing enough of a punch to stand on their own. There’s a lack of personality shown throughout most of the tracks here, so there’s not much that truly sticks with you, and anything that does manage to come out through is gone as quickly as it appeared.

What makes this album so frustrating to listen to is just how plain confusing it is. The biggest instance of this confusion is perhaps in how MacDonald makes it known that he shouldn’t be known as the “heartbroken rapper” and constantly reiterates how he is more than that. But this view of himself is never really explained. Considering his vast catalog of music, it’s possible that it fits in with his other work and their receptions, but if so, it doesn’t make a smooth transition to this album at all. It just feels so haphazardly thrown in with no expansion or even direction. He doesn’t use this stance to go any further than denying it. 

Qualities like this are weird, but also help break the monotony of the album by giving something different to dwell on. The idea that people see MacDonald as a brokenhearted rapper, but by trying to dispel this notion, he only furthers this image of himself is an interesting, if unintentional concept. However, the way this is presented is way too rough to have any sense of greater appreciation for its inclusion. I was confused by the perception of himself that MacDonald brought up, and there’s no clarification and development. He simply repeats this sentiment.

It’s disappointing that even the aspects of the album that I gravitate towards are sullied by MacDonald’s struggles to add more to his music. The few interesting parts of this album are never utilized to the best effect, or last long enough to fully enjoy. I would be hard-pressed to say that anything MacDonald creates any value with this album that couldn’t be found from any other rapper. 

Favorite Tracks: Close to Me, Cool Kids & Gold Chains, Where Were You? 

Least Favorites: House in the Hills, Skinny Rich Girl Swag, Trippin, Buckley’s, Ratchet Face 

Enjoyment: Mid 3

Critically: Mid 3

Arbitrary Number: 3.6/10