Review by Alex Dye

Drake may be the most famous rapper from Canada, but he’s not the only rapper from Canada.  In fact, with all the controversy that surrounds him and takes the focus off his music, he may not even be the best representation of hip-hop from the great white north.  So, if you’re willing to go outside of the some of the regular hip-hop locales, you should give a listen to Toronto-native Shad, whose 6th album TAO drops October 1^st.  Highly lauded in his native nation, winning a Juno award (the Canadian equivalent to the Grammy’s) in 2011 for best rap album of the year (TSOL), I first encountered him as the affable host and interviewer on the four-season Netflix documentary on the history of hip-hop, Hip Hop Evolution.  Based on that show and very little exposure to his music, I was excited to dive into what I was certain was going to be an enjoyable listening experience.  My excitement was not disappointed.

First things first, Shad is a lyricist.  His storytelling is engaging, his metaphors clever, and his vocabulary extensive.  Not only can he write rhymes, but he delivers with fire, changing up his tempo, cadence, and time-signatures and using his unique voice in a way that demands this not become background noise.  Shad has located himself in the cadre of emcees labeled “conscious” rappers, which makes sense since he lists Common, The Roots, and Lauryn Hill among his influences. 

TAO is named after both the Chinese philosophy of naturalism as well as an acronym for the C.S. Lewis classic The Abolition of Man.  The album focuses on the ways in which our advances in technology and ideology have pulled humankind away from its natural state.  Shad says of the theme, “Each song on the album focuses on a different part (or parts) of our humanity that we’ve been losing touch with.”

This philosophical focus can be seen in songs like WORK, which sounds like a certified club banger but whose words are heavy. The lyrics explore income inequality and the challenges of just surviving: “The poor can’t afford to look poor, so I need to make sure these shirt and shoes look new.”  He also highlights the assumption that work equals personhood, saying, “I’m not a man, not ‘til I manage my estate.” 

On the album’s newest single “Black Averageness,” Shad approaches the constant pressure of needing to be the best with a sense of humor (in the video, Shad is seen shooting and missing baskets, moving closer to the hoop, and missing again, a play on the trope that all black men are supposed to be good at basketball).  Shad says of the track: ‘Black Averageness’ is a just fun celebration of our beautifully imperfect selves in a society that still struggles to see our humanity. As vital as it is to elevate Black Excellence and to address the harsh realities that we disproportionately experience, I think it’s also helpful to affirm our inherent dignity as ordinary human beings and to create more space for us to enjoy life with all its inevitable ups and downs, successes and failures.”  It’s a callout to hip-hop culture that’s always trying to crown the next king and a reassuring word that it’s okay to be average; “I’m a man, why’d I want to be a GOAT?” 

Shad’s lyrics are funny with a purpose, as he drops punches at racial realities with pop-culture references “deal with racist bosses, Stanley at the office” (“Black Averageness”), throws in self-deprecating punchlines “I’m a bizarre person, I look regular like Levar Burton” (“Black Averageness”), and uses metaphors for scathing cultural commentaries, “STI’s and other viral sensations, just cuz it’s new doesn’t make it innovation.” (“Tao Pt. 2”)

His sense of humor doesn’t take away from the serious challenges that the album levels, calling back to the overriding theme of the push-pull between natural state and the industrialization of humanit: ‘Don’t be afraid to take a risk and fail…there’s too many minds in prison cells.” (“Tao Pt. 3”) “Only those that don’t believe in power have that power that can lead to peace.” (“GOD”)

Musically, there’s two tones going on in this record.  You’ve got hard hitting tracks ala Kendrick Lamar’s DAMN, and laid back, chill, even positive sounding vibes.  These two diametrically opposed sounds don’t clash, but instead serve as a soundtrack to the theme of hope opposed to the way in which the world attempts to drag us down.  There’s a versatility to the music too that makes each track stand out in a way that they’re uniquely listenable.  And so the album doesn’t become a musical blur.     

My only complaint is that even at 12 tracks, the album feels short.  Which is fine because I can just hit play again (as should you).  TAO was released on Secret City Records and can be streamed on all streaming platforms.  You can find Shad at shadk.bandcamp.com and on Instagram, Facebook, and Twitter.