It’s difficult to think of many mainstream rappers who have had a rougher past few years than Kiari Kendrell Cephus, a.k.a. Offset, but “SET IT OFF” seems to be more of a look to the future than a reflection on the past. Even if that is the case, the events that led up to this album cannot be ignored. 

Originally titled “Blame It on Set” and scheduled for release just under a year ago, Offset was set to follow up his admittedly lackluster solo debut “Father Of 4,” an album plagued with lackluster production via Metro Boomin and mediocre performances from Offset almost across the board. There was certainly cause for concern going into this project; since his debut in 2019, he’s been a part of the Migos’ career-ending Culture III, attempted to sue his label and cheated on his wife, Cardi B — who was responsible for the best song on his first album. That’s not even mentioning the falling out he had with the other two Migos, leaving Quavo and Takeoff to go by “Unc & Phew” and drop what’s essentially the best Migos album since 2017.

Clearly something has changed, as if this album is any indication. Offset’s future seems to be bright. Cephus’ hooks are better than they’ve ever been, with the R&B-flavored chorus on “DISSOLVE” and the mammoth 16-bar refrain on “DON’T YOU LIE” being immediate standouts in this department. “FAN,” which was the second single released from the album, stands as the most outright aggressive track on the project and the chanting repetition of its vulgar chorus is as catchy as it is hostile.

Production remains strong throughout “SET IT OFF,” courtesy of trap mainstays such as Southside, the aforementioned Metro Boomin, Boi-1da, Wheezy and even Offset himself. People tend to be critical of albums having as many songwriters and producers as this one does, but if anything, it gives Cephus an avenue to experiment with what works and what doesn’t. “DISSOLVE” has already been mentioned as a cut, which shows potential R&B chops for Offset. “WORTH IT” sees him try his hand at 2000s-style pop rap alongside Don Toliver, an effort which fails if only because he goes about doing this by using the same sample as Busta Rhymes’ 1997 classic “Put Your Hands Where My Eyes Could See,” which is a track no one can reasonably expect an Offset promotional single to live up to. “HOP OUT THE VAN” sees him adopting a higher-pitched delivery reminiscent of the late Lil Keed. The execution admittedly leaves much to be desired, but the tribute is appreciated.

If this album falters anywhere though, it’s the features. Two of them are stellar, but those seem to be the exception and not the rule on “SET IT OFF.” Chlöe Bailey and Young Nudy provide solid enough verses on “PRINCESS CUT” and “DOPE BOY,” respectively. Future pulls out some pretty decent wordplay on “BROAD DAY” like, “All I got is shooters, no friends like VLONE” referring to the Friends Collection made by Vlone, a company created by rapper collective and past collaborator A$AP Mob. 

There aren’t any more positives to go around after that however. Mango Foo fills the unknown Quality Control rapper quota on “SKYAMI,” Don Toliver sounds completely anonymous on “WORTH IT” and Latto fails to make any kind of mark on “FINE AS CAN BE.” The worst feature here has to come from Cardi B, who delivers one of her all-time worst performances on “FREAKY,” a great song for people who like hearing the word “freak” 12 times in a row and absolutely no one else.

For as much as Offset wants to move on, the best parts of this project come when he’s reflecting on his past. Lead single “JEALOUSY,” which has both Jamie Lee Curtis parodying the infamous 1988 James Brown/CNN interview and is built off a truly brilliant Three 6 Mafia sample, is a vehicle for both Offset and Cardi B to address rumors about their admittedly tumultuous marriage while also calling out “jealous a** b*tches.”

That song is great on its own, but it pales in comparison to the album’s centerpiece. “SAY MY GRACE” is the song where it feels like Offset is letting all emotions out the most and it’s the most introspective track on the project because of this. The lines “I took the bodies up out of my closet/I buried ‘em deep and they still in the way” read as him realizing ignoring his past doesn’t make it go away and the pain in his voice throughout his first verse is palpable. “Ask God, why I didn’t get a answer? / Why I lose my brother to bullets? / Why I lose my grandma to cancer? / Why me, God? I need answers,” is heartbreaking stuff. Travis Scott delivers the best feature on the album, with even him coping poorly with Takeoff’s death in the line “Ever since we lost bro, it ain’t really much more I can take / I pop a ten when it’s late, momma told me to pray.”

Offset’s troubles may never truly be over if the past tells us anything, but there is a reason Cephus is so focused on the future. He said in an interview that his objective with this album was him “going full-fledged” into a solo career; and honestly? This is as good of a project to start with as any.