Tuesday, April 2nd, 2024

Cardi B – Enough (Miami)

We can’t get enough of Cardi, which is why you’ll be seeing her again later today…


Alfred Soto: A flex that tries to cow the feeble backing track, “Enough” is a demonstration of Cardi B’s talent for a contempt that makes exceptions for consonants. No one human enough to mind sits on the receiving end of “Enough” — this is pure brand extension and proud of it.

Katherine St. Asaph: I think I just took physical damage.

Leah Isobel: Cardi is truly Azealia’s daughter. Just like her mother, she can do some truly phenomenal things with a consonant sound; the way she launches the word “sluts” off her tongue or pushes the plosives into her nose on “got ’em thick like peanut butter/bitches is jelly about it” is pure ear candy. The glee in her voice elevates “Enough” past its vaguely tacky brand management, but not past its slightness. 

Oliver Maier: Cardi virtually feels like an elder statesman at this point, and her aggressive, carpet-bomb style of rapping would feel quaint and outdated if it wasn’t still so fun to hear her do it. There’s a real tactility to her flow that it took me a while to appreciate, but the way that she doubles down on certain plosives and syllables while snubbing others entirely is so clearly a strength rather than a weakness. She regularly pronounces about half of the letters of the word “fuck” and it still feels ballistic. Comfortably her best song since “Up” with bonus points for the “How Many Licks?” reference.

Jacob Sujin Kuppermann: Less a Cardi B song than the outline of a Cardi B song – if I turn “Enough” around in my mind I can imagine where a more engaged Cardi could fill in more compelling material, lines that would hit harder if they had a more specific image or funnier joke. Instead, we’ve got this, which is not quite there in so many ways that the whole thing capsizes. Dayenu? Not this time. 

Jeffrey Brister: I’ve always enjoyed Cardi B a lot more in this stripped-down, straight-ahead context. It gives the spotlight to her technical skill and hilarious writing, laden with punchlines and laugh out loud moments (three shots an’ I’m ready to FUCK — girl, same). This is the most satisfying kind of meat-and-potatoes rap.

TA Inskeep: I want and expect more from Cardi at this point than just endless boasting.

Nortey Dowuona: “Her” has four producers. “Enough” has three. Maybe it should’ve had a 4th to fix the chorus. Or the drums. Then again, “Sweetest Pie” had five producers, OG Parker and Romano amongst them, so maybe it’s not just the number. Maybe it’s OG Parker’s fault… wait, he made “Thot Shit”? “Slippery”? “On It”? “Ur Best Friend”? “LIGER”? Was this youngblood Parker on the boards today?

Dave Moore: Cardi B’s charm is effortless, so even a track that seems like it was assembled on autopilot has something to recommend it, grimly “hard-edged” (read: dull) though it may sound. She sounds fantastic on the Shakira single; maybe she should make a harder artistic pivot. Pick any direction you like… how about Cowboy Cardi?    

Ian Mathers: Whereas some of Cardi’s more notable rivals have, err, notably dropped off over time, this is her firmly succeeding in “Bodak Yellow” mode except… I think I like it a little better? The delivery and wordplay are even more confident (points for referencing “Just Say That” and “Knuck If You Buck” without just copying them), it’s got a better chorus, and the production is simple but effective. You can get away with a lot when your core is this strong.

Taylor Alatorre: Atlanta’s cultural hegemony over 21st century hip-hop is such that a back-to-basics NYC drill track can use “Knuck if You Buck” as its central signifier for choosing violence, and no one bats an eyelash. Not that I’m the first person to observe this, of course, but Cardi isn’t exactly giving me much to work with here. The beat is clean, suggesting danger without creating it; the flow is lean, snapping at haters without devouring them. One gets the sense that this was written as a comeback single, but for better or worse it doesn’t take the kinds of risks that are traditionally associated with such mass-marketed stabs in the dark. It is the first-ever notable release in the history of popular music to use the term “regular-degular,” though, and one figures that has to be worth something. 

Isabel Cole: Cardi always marries boastful menace with silliness so well. I hope this song kicks off a trend of don’t-fuck-with-me rap songs expressing badassery through fun animal facts and Dr. Seuss homages.

Mark Sinker: So this one has a little star, 
and this one has a little car 
What a lot of bitch there are


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