Rick Ross’s 10th album serves as a sequel to his debut, revisiting the title and themes of ‘Port of Miami’. Moving to relaxing tempos, exuding the kind of confidence a multi million dollar empire affords, here Ross reflects on the lavish luxuries he commands every day.
The Floridian rapper has glamorised his life on the fringes, turning his chequered past into a cheque-filled record label and solo career. But where previous albums have sometimes acknowledged struggles and raw emotions, ‘Port of Miami 2’ feels more like a checklist of material achievements.
Big Tyme, featuring Swizz Beatz, is a prime example of Ross announcing his successes over and over again, accompanied by unambitious production from Just Blaze and predictable verses. White Lines, a collab with Dej Loaf is a detached, Disney-esque glimpse into a drug fuelled day.
Starring our protagonist, Ross raises a blunt to cheers from the police, while his female company, you guessed it, snort and smoke drugs. Bieber-esque backing vocals float in and out as the song draws to a close and the sun sets—the entire track highlights the weak foundations ‘Port of Miami 2’ is built on. Relatability and IRL feelings are glaringly absent.
There is no grit here. Maybach Music VI, featuring John Legend and Lil Wayne, would be better suited to a lift than a studio, and even Drake’s offering on the closing track Gold Roses passes by without anything to offer in terms of attention-grabbing moments.
As ever, Ross’s voice is smooth, deep and deluxe, and no amount of lazy writing will detract from his impenetrable boss status. ‘Port of Miami 2’ is listenable, but the real disappointment is the unfulfilled potential and missed opportunities as Ross celebrates a décima of album releases. This LP commands work from a line up of hip hop’s most talented players, yet somehow Ross dims the spotlight on himself and his comrades with 66 mediocre minutes of music.
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