Childish Gambino - 3.15.20

The Guardian 100

The actor, comedian and musician Donald Glover has made the first truly outstanding album of the decade, offsetting cultural examinations with moments of sweet levity

In hindsight, music has always been Donald Glover’s true calling. Before the sitcoms, the Star Wars movie, the Saturday Night Live hosting gigs, and the well-worn gifs of the performer walking horrified into a burning room with a stack of pizza boxes, you could find him on YouTube as a member of Derrick Comedy. The group’s greatest sketch, B-Boy Stance, saw Glover play an ageing hip-hop pioneer who had his arms surgically attached to his back, ensuring he was forever pulling the iconic pose – it riffs on the distance between the New York acolytes who witnessed the birth of hip-hop and those who came to the music after it was commodified. Glover’s understanding of American culture shines with diamond clarity; Atlanta, his comedy-drama that goes deep into the city’s rap scene, is the evolution of those ideas.

Glover’s early forays into rap were corny and forgettable. The Childish Gambino project felt like the side hustle of a talented kid eager to test every limit of his creativity – that the moniker was taken from an online Wu-Tang Clan name generator seemed to reflect how low it fell on his list of priorities. In 2016, the funk record Awaken, My Love! was an artistic breakthrough. Then came 2017’s vicious This Is America and a video that encapsulates the racial prejudice, police brutality and vicious gun lust freezing the soul of the self-proclaimed greatest country in the world. The clip became a pop cultural juggernaut, anointing Glover as spokesman for the Black Lives Matter generation.

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Pitchfork 60

Donald Glover’s got big hooks and big ideas, but his spiritual largesse is weighed down by impulses carried halfway to their endpoints and moments of frustrating pretense.