Good News

‘Good News’ is a triumph, and a late contender for Album Of The Year.

Good News showcases Megan the Stallion’s creative depth, her euphonious inventiveness, and libidinous wordplay.

On “Outside” and other uncluttered tracks, Megan pulls off something tart, true and real, while maintaining all that is best about her hard exterior. One wishes there was more of that sound on her debut album, but overall, “Good News” finds Megan moving confidently to the next level.

When Megan moves away from her standard lyrical fare, perpetuating her beef with Tory Lanez on opening track Shots Fired or penning the poppy tune Don’t Rock Me To Sleep, the results are some of the best moments on the album, and if these aspects of her style had been explored some more it could have made for a more diverse LP, but Good News is still chock-full of catchy hooks, stellar verses and feisty attitude.

“Good News” proves Megan’s prodigious talent, but it also suggests that, with a bit more digging, this gem could emit an even more prismatic shine.

The production on Good News is hardly subtle, and few of these beats would stand out on their own, but they’re effective at supporting her flows and keeping the energy going.

Her party-girl braggadocio feels more nuanced by recent tragedy. Yes, listeners are blasted with sex-positive bangers that bounce from wall-to-wall, like the infectious "Body," which will surely be gentrified by White TikTok in the coming days, but these moments are made human next to moments like "Circles" where she reflects on recent trauma.

Megan’s own flow is musical enough to offer its own hooks without outside ornamentation. A track like “Body” shows Megan’s pop strengths as she stretches the title into a stream of ody-ody-odys so bouncy you can practically see booties popping to the beat.

While Megan Thee Stallion presented herself as a force to be reckoned with from her earliest material, Good News finds her triple-X-rated sex rhymes, imposing charm, and ability to make it all appear effortless reaching new levels.

Opener ‘Shots Fired’ is a signal that Megan is not messing around. ... Yet it’s not long before she returns to the salacious songs that we all love Megan Thee Stallion for. ... For all the sex positivity and club-ready anthems, though, there are glimpses of that tone was first introduced with ‘Shots Fired.’

This album has the most features of her career and when she gets a rap assist—like on “Movie” with Lil Durk or “Cry Baby” with DaBaby—she does her hardest work, fueled by collaboration (or more likely, competition). In popularity and proficiency, Megan is ahead of her peers across gender.

The crisp production makes this feel like a well-thought-out and intentional release, rather than a rushed cash-grab. However, it’s this poise that makes Good News exactly that: good. When held up to past releases like Tina Snow and Fever, Megan’s larger-than-life personality over the Dirty South production she is most familiar with is not showcased to its full potential.