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Authenticity Prevails Over Hype in Don Toliver’s ‘Life of a DON’

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Picking up from his high point, “Heaven or Hell (2020),” Don Toliver’s new album “Life of a DON” released on Oct. 8, running thematically darker to delve into the Houston rapper’s psyche amid unexpected fame. With production credits including Hit-Boy, Metro Boomin and Mike Dean, Toliver takes another step towards a distinguishable artistic identity aside from his viral vocal runs. Simultaneously, “Life of a DON” pays homage to Houston, with chopped and slowed outros, Travis Scott-inspired flows and a feature from underground Houston talent HVN. Toliver’s latest album doubles down on his place in the music industry — relaxed in an armchair with his head resting on his arm, facing the limelight. 

“I just wanted to be heard, but I made some millions,” Toliver raps on “What You Need” before delivering the only track reminiscent of his “Donny Womack” era. Instead of showing off his rap-R&B vibrato on tracks like “Mamma Mia,” he’s honest about how blurry, lavish and taxing his lifestyle has grown since signing onto Cactus Jack Records in 2018.

“5X” kicks off the album with a tone unimpressed at seeing the same scenes over and over. At many points in the track, you’re ready to hear an elaborate run from “Heaven or Hell”-era Toliver — one worthy of TikTok fame. He eventually gives the fluttering vibrato but we can see Toliver adding dimension to his music with bars ever-present. He doesn’t need to rely on quick moments of fame. The song is great without trying to recreate viral moments, making a statement for the rest of the album. 

In his most personal and pensive performance, “Double Standards,” Toliver shows an artist trying to find their place in a world that demands caution. With his platform growing with each stream, he’s likely referring to the pressure of being “cancelled” for his past pitfalls: “It’s so hard to be human / It’s so hard to just live and learn with all of your mistakes,” he opens before the slowed guitar loop and 808 hi-hats take over. The sample in the interlude nods to Lil Jack, a Memphis rapper that heavily influenced the Houston sound in the ‘90s, adding depth to Toliver’s connection to the track as a tribute to the town that raised him. The 27-year-old has no problem showing that the limelight’s pressure dims his spirits, but he understands that all he can do is be genuine and sincere moving forward. 

Following immediately after, “Swangin’ on Westheimer” escapes the fame for nearly five-minutes with the hype right behind him. Led by a minimal, circular synth-clap arrangement, Toliver takes you on a smooth drive down Westheimer Street, a personal landmark for every move he makes in H-town. 

“If you’re in the two o’clock, three o’clock, four o’clock a.m., one o’clock a.m. vibe, you’re driving slow. You might have an open road to ‘swang’ left and right, and take the opportunity to do so,” he said to Apple Music

Instead of meeting us at an infectious high, “Life of a DON” meets the fans at a realistic, transparent level before giving in to the hype.

The album reaches its highest points when Toliver glamorizes the night life. One of the shortest songs on the album, “Get Throwed” is meant to be enjoyed behind tracks like “OUTERSPACE,”  featuring Baby Keem, and “Smoke,” featuring HVN and SoFaygo. Not only does Toliver choose talented artists to complement his creative vision, but he also generates fun moments to rally around. 

Before the grand beat switch in the former, we get “Heaven Or Hell”-era vocals as the song turns into an anthem with contemporary writing: “I’m the type to talk about my demons and s**t / Tennis chains on, feelin’ like Serena and s**t.” Toliver juxtaposes meditative writing behind a pounding bass drum exceptionally well on the track. Lyrics about smoking, spending money and adultery stick out in Toliver’s vision, but not nearly as much as his heartfelt emotions.

Most songs in “Life of a DON” are grounded in substance use and material wealth, but it’s Toliver’s evolution as an artist that makes these tracks sonically cohesive and impressive. “Flocky Flocky,” featuring Travis Scott, wouldn’t succeed if Toliver released it in 2018. His decisive confidence, rhyme-pockets and production choices have taken new form. Even when big name features appear on the album, Toliver delivers dominant performances that display his versatility as an artist. Instead of singing across every minute of the track with shallow writing, he decides where, when and how he can make the sound personal. 

“Life of a DON” leaves a wonderful listen to those interested in Toliver as more than a brief moment in rap-R&B. With an appropriate balance between contemplative tracks and turn-up hits, Toliver crafts an experience that will age well for its authenticity and fun. Despite having a cast of producers and collaborators, most being from one of the hottest labels around, the album sounds therapeutic and intimate for Toliver. It takes turns alternating between bangers and honest meditations, adding dimension to “the Don” as a learning soul and hungry artist. 

Mason Stoutamire is an Entertainment Intern for the fall 2021 quarter. He can be reached at mstoutam@uci.edu.