It is hard now to not find the name Travis Scott in any major magazine or under some of the more influential artist lists throughout the 2010s and on. Being an artist that was able to dominate most of the latter half of the decade with a home base personality that transferred into a global vision was secured. Through the 2016 epic, Birds In The Trap Sing McKnight which flew under the radar personally; there was a demand to revisit the chart-topping record and realizing the errors of past ways.
While feature heavy, Scott acts as an uprising host that can control and orchestrate an all-star cast to work in his own frame. Kid Cudi, Young Thug, Quavo, Kendrick Lamar, and even The Weeknd make appearances on Birds In The Trap Sing McKnight and create a more cohesive experience than his debut studio record Rodeo. It is difficult to exactly note what formula Scott holds behind his relatability and charisma transferred to the microphone, but through each record, he slightly opens the window into the vividly bright and distant thoughts that cloud his judgment. As he soars on the wings of his metallic eagle with a span that engulfs the crowd, onlookers are shocked while he travels ahead.
Birds In The Trap Sing McKnight is able to collaborate on one flowing sound that works immensely well for Scott beginning with some of the bang heavy tracks like “sweet sweet,” “goosebumps,” “pick up the phone,” or “wonderful.” Most of the time, the collection of sound is a direct link to flocking feathers of artists that embody the necessary bound to movement. Birds In The Trap Sing McKnight is constantly in rotation for often-times quicker, less stagnant pieces to highlight the details within the plumage. There is never really a moment where Scott takes a serious lead however in Birds In The Trap Sing McKnight and there is usually the call for his features to take up most of the record as the mainstays. Scott still lays down most of the hooks, but his technique of dropping one verse and then using the featured artist to shine is more of a flight way of migration from track to track.
This formation of a bird’s eye view as a sense of scale is a beautiful addition to this rap opera performance that is so desperate for gold. Especially when shown in the final verses like on “pick up the phone,” or “wonderful” that are some of the better tracks from the record. Scott takes a back and forth structure over sleek instrumentation that boosts the production into this translucent flight over the nightside of the city.
In any sort of the word, Birds In The Trap Sing McKnight creates an instant gratification from the first listen. It is nearly impossible to distinguish a clear ending as the album deserves to be replayed and ran back immediately after its finish. This album will peck at the audience and illustrate a sense of desire that is evident from start to curtain call.