After an unusually weak first half of the year releases-wise, this summer brought with it ample great albums from the likes of the Clipse, Freddie Gibbs, Quadeca, Ethel Cain, McKinley Dixon, Rio Da Yung OG, and Jim Legxacy, among others. J.I.D’s God Does Like Ugly stands above all, however. His unparalleled control of his pen mixed with the hard, soulful production cements his follow-up to 2022’s The Forever Story as one of the best performances since his last album.
With how beloved The Forever Story was, it seemed difficult for J.I.D. to come back as strong, but I had faith. The lead single “WRK” showed that J.I.D. has yet to lose any of his talent. The flow he employs in the first verse is downright hypnotizing, and beyond him bluntly stating, “Here's a lil' reminder that I'm still choppin' wood / Still grindin', still rhymin'.” The onslaught of slant rhymes he uses throughout the track shows he’s picking up right where he left off.
If “WRK” showed that he didn’t lose it, “Glory” illustrates that he’s come back even stronger. His jittery flow pairs well with the endless collection of rhymes he utilizes. On this track, he also uses his most unique lyrical strategies, where he flips the lyric “Odds against me, I'm against the odds.” He does this even better on “Of Blue” with Mereba.
“Of Blue,” while not the most commercial, is my pick for what makes J.I.D. such an idiosyncratic rapper. On this three-part, six-minute epic where he meshes a soulful and feature Mereba with personal writing, he combines the flip with the overwhelming rhymes by saying “Heaven was Hell and vice-a versa, a verse of vices / Writin' in cursive, the grind of an author, definin' purpose.” He exists in this middle ground of lyrical rappers and trap/drill rappers, where he weaves thoughtful but not over-the-top writing with an effortless flow and an ear for beats. This combination gives him respect from critics and fans alike, and makes him an artist who will be popular not just for now, but one that will stand the test of time. Whether the song is more pop-oriented like “Sk8” and “What We On” or more “gangsta-rap” like “Gz” and “Community” (the latter of which features killer verses from both Pusha T and Malice of the Clipse), J.I.D. sounds natural and in control.
What makes this album resonate beyond its technical achievements is its emotional depth. Throughout his LP, J.I.D. explores identity, grief, perseverance, and legacy. Not only this, but the name of the album itself, God Does Like Ugly, is a powerful phrase that suggests divine purpose in imperfection. This theme is the foundation for the entire album, where J.I.D. speaks on his upbringing, industry politics, and his Black identity. The album’s complexity also extends to the production. The range of beats span from fast-paced soul to minimal and menacing backdrops. However, none of it feels out of place. Beyond looking at the tracks in a vacuum, the album works remarkably well front to back. While The Forever Story still feels more complete, God Does Like Ugly blends its different sounds and styles into a cohesive 57-minute artistic statement—one that stands as the best release of the summer.