Upon the first week of its release, Can’t Rush Greatness, Central Cee’s third studio album positioned itself as number 1 on the U.K. charts. With his incremental rise to popularity, Central Cee continues his ascent, with his new album including features from seasoned rappers including 21 Savage and Lil Baby. Despite his chart-topping hit “Sprinter,” which broke multiple records as the first rap single in the U.K. to spend 10 weeks at number one, Cee gained even more fame from his infamous social media spews with rapper Aitch, and the better-known dating drama involving Ice Spice. Despite these controversies, Cee has managed to continue his rise as he maintains the top spots on the U.K. charts. The album borders on musical growth and stagnant lyricism. While we can see growth in his overall production since signing with Columbia Records, advancements beyond cadence are limited. While the album stands out in the British rap scene, it’s unlikely to have a lasting, critically acclaimed impact beyond that space.
Opening the album with the ironically titled “No Introduction,” Central Cee sets the stage for what seems like an R&B-inspired project—until 15 seconds in, when his distinct accent cuts through, quickly shifting into hard-hitting British rap. While the track isn’t weak, it doesn’t stand out as a strong album opener. As a tone-setter, it doesn’t fully deliver. “5 Star” is a smoother, more cohesive track that embodies the album’s theme, making it a stronger choice for an opener. While the lyricism lacks originality, the song has notable flow.
“Gata” featuring Young Miko is a bland, social media-coded track. Cee fails to pull together a chorus, leaving it to Young Miko to carry the song—which she does gracefully. “St. Patrick’s” lacks lyrical substance, feeling overly repetitive and overly basic. The “fuck boy” attitude is nothing new in rap, but this track does little to stand out. Cee focuses solely on finding a girl willing to hook up on a first date while patting himself on the back for his supposedly thriving career. While ego is common in rap, it’s justified when rooted in genuine accomplishments. Here, Cee claims to take credit for his success, yet his claim of “I done it myself” rings hollow. “GBP” featuring 21 Savage is a solid track with a well-utilized feature. 21 Savage helps tie the song together with a commanding verse that elevates the track. The clear, memorable chorus makes it interactive for fans. Strong backing production complements the personal reflections from Cee, making it one of the more authentic moments on the album.
“Top Freestyle” is undeniably more emotionally complex and personal than previous tracks. It offers a glimpse into Cee’s past and makes him feel more tangible after a series of broader, less distinctive songs. “Up North” continues delving into Cee’s past, reinforcing the album’s personal angle. The track’s flow and beat make it an easy head-bopper. For those not in the U.K., this song highlights Cee’s charming accent.
Track eight, “CRG” featuring Dave, is one of my personal favorites on the album. A rapid yet effortless tempo with a smooth rhythm highlights Cee’s impressive rapping. Dave is a great addition to the song, his voice blending seamlessly with Cee’s. The melodic piano intro of “Limitless” leads into a flowing verse that once again showcases his swift vocals. The honesty in his lyricism carries this track, as Central Cee opens up about being raised by a single mother in a tough neighborhood and his struggles to achieve financial stability. Just as the title shares, Cee describes reaching a place of boundless possibilities.
“Now We’re Strangers,” another of my favorites, starts with a gentler introduction, with Cee carrying the track through a harmonic, smooth flow. He describes a love he has, painting this woman in a warm, affectionate light. Between the verses, we get glimpses of R&B-style singing in the choruses. I am sad to report that “Truth In The Lies” is a wasted sampling opportunity. The contrast between the lyrics and the sampled song usually wouldn’t be an issue, but here, it feels wrong. It uses the entire backing track of the sampled song, which feels like a mistake or a lack of creativity, as if they didn’t know how to structure the jumbled lyrics. Furthermore, Lil Durk’s feature feels out of place.
The short yet dynamic track, “Ten” featuring Skepta furthered my unexpected enjoyment of the album, with Skepta being a subtle and satisfying feature. Track 13, “BAND4BAND” featuring Lil Baby, is an expected chart-topper with its catchy chorus, which has already blown up on social media. Lil Baby, though previously unknown to me, makes a refreshing contribution with his unique half-sung, half-rapped delivery.
The next track, “Gen Z Luv,” just as titled, describes the classic Gen-Z love story, yet another romantic declaration of love for his woman. “Walk In Wardrobe” employs various tributes, including the film The Polar Express, OutKast’s “Ms. Jackson,” and the Bible. These references are utilized to explore his career as well as his love life.
The sweet, sentimental intro of “Must Be” addresses Cee’s commitment to being ‘real’ in friendships and relationships. Closing the album, “Don’t Know Anymore,” continues the album’s theme of melodic introductions with a heavenly female voice opening that leads into Cee’s final, flowing rap. Despite its smooth lyrics and tempo, the track struggles to stand out, making for an underwhelming closer.
Central Cee’s latest album demonstrates his ongoing evolution as an artist, blending smooth, rapid-fire rapping with introspective lyricism. While the project reveals his continued growth, it also hints at untapped potential, leaving space for even greater strides in the future. With a strong mix of diverse features and thought-provoking verses, the album strikes a balanced, enjoyable tone.
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