MIKE ‘Showbiz!’ Review: Mo Money, Mo Problems

If he hadn’t already used it for one of his earlier releases, Weight of the World would have been an apt title for Brooklyn rapper MIKE’s 10th studio album. But Showbiz! proves just as fitting, as the album portrays the entertainment industry—and, more broadly, the pursuit of success within it—as a relentless, soul-crushing machine that grinds down anyone caught in its gears. “Dreams of getting’ rich, I was poor then/Nowadays, I don’t pray for shit but for more strength,” MIKE raps on the opening track, “Bear Trap.” It’s an acknowledgement that while success has vanquished one of his personal ills, it inevitably brings about more insidious ones.

With its rough-edged aesthetic and fragmented presentation, Showbiz! feels like the culmination of years spent turning ongoing pain into poetry. “Man in the Mirror” finds MIKE reflecting on speaking—or, more accurately, muttering—to the person looking back at him in the “blurred mirror,” where his words feel “clearer” when intoxicated, and love seems tied solely to his bank account. But, then, on the very next track, “Artist of the Century,” he switches gears into full shit-talking mode, confidently staking claim to his abilities while acknowledging that “the prize isn’t much, but the price is abundant.”

One could spend hours luxuriating in the seemingly endless array of vintage funk and R&B sounds that make up the bulk of Showbiz! Not since the late MF Doom has a rapper truly understood the power of finding a groove and sticking with it—or come off this naturally while doing so. Throughout, there are deliberate choices crafted around mood and atmosphere, such as the obstreperous free-jazz stylings that make up “The Weight (2k20),” where the chaotic instrumentation is mixed louder than MIKE’s own vocals.

That might imply that MIKE is painting himself into a stylistic corner, and while there have been instances on past releases where he seemed to be spinning his wheels—proving that the line between lo-fi and low effort is thinner than most may realize—Showbiz! offers plenty of variety across its 24 tracks. Perhaps not to the degree of last year’s excellent Pinball, as there’s hardly a hi-hat or thumping 808 in sight, but the mood here is far from solemn.

“Showbiz! (Intro)”—which, despite its title, comes 19 songs after the album’s actual start—ranks as one of MIKE’s most traditional and technically sound performances, as he displays a level of laser-focused clarity that he typically feels fine to do without. And the swaggering “Da Rock” offers a fun reprieve (and sharp contrast) to the understated “Belly 1,” which comes right before. It’s one of many energy shifts that keep the pacing dynamic throughout.

Yet, as consistent in its craftsmanship and thoughtfulness as Showbiz! is, it doesn’t quite break new ground to the degree needed to make it stand out from MIKE’s previous output. But he so reliably transforms the cerebral conversations in his head into compelling music that it’s easy to take his brilliance for granted. And the album effectively balances MIKE’s expanding public persona with the inward reflection that’s defined much of his career.