Freddie Gibbs & The Worlds Freshest
The Tonite Show
While hindered by its brevity and limited concept, "The Tonite Show" excels with a polished aesthetic and a stark salute to the Golden Age West Coast.
Freddie Gibbs hasn’t had time off in quite a while. The Gary, Indiana native initially ascended on an impressive streak of five mixtape releases between 2007 and 2009, maintaining national recognition after severing ties with Interscope Records in 2007. The subsequent five years have brought three more independent mixtapes, an LP, collaborative projects with Madlib, another with Statik Selektah, and a throng of song-stealing guest spots.
Naturally, the only thing to commemorate his swelling discography and current stint on the “Independent Grind Tour” is another album, this time delivered as a neon-lit victory lap. Gangsta Gibbs arrives on the 31st installment of The Tonite Show, a series curated by Oakland DJ The Worlds Freshest, and leaves behind the brooding, portentous tone listeners have come to expect in favor of a laid-back, self-indulgent one. As he declares in the intro, Gibbs is only “fucking hoes tonight, smoking weed tonight, selling dope tonight, and doing whatever the fuck else I want to do.”
Sonically, The Tonite Show is rooted in wailing saxophones, shimmering synths and thick bass lines. The Worlds Freshest delivers much of the production from the front seat of a ‘64, deploying a hyper-local dedication to 1990s G-funk with a few skittering 808s for updates. The relationship between Gibbs and Worlds Freshest is equally old school; though most one-emcee, one-DJ digital releases are ostensibly ceremonial or promotional, Gibbs has no shortage of shoutouts for the man behind the boards. The triteness of “The Worlds muthafuckin’ Freshest bitch!” is easily overlooked when said in Gibbs’ blunted baritone.
While the subject matter isn’t anything new, Gibbs’ versatile flow is what buoys the uniqueness of The Tonite Show. He methodically moves through the clapping percussion of “Keep It Gangsta,” bobs and weaves on the uptempo “G Like That,” and adopts a Midwestern, harmonic double time on the woozy “Bitches, Dope And Dollars.”
Yet despite its hedonistic focus, there’s a clear politics to The Tonite Show. Gibbs has ridden the recent popularity of Piñata and fully adopted a Los Angeles aesthetic, but from the album’s first track, he asserts that he “still be in the trenches even though my shows are packed out.” Gibbs is hittin’ bitches with his Nikes on, but not without keeping the struggle of Gary in his rear view. It was life or death for a dude that used to rob trains for a living, and even the most relaxed songs on The Tonite Show, like the Problem-assisted “On Me,” are bolstered by a surly sense of deservedness. The boasts about girls hit harder; the celebrations become more visceral.
The Tonite Show is mainly held back by a lack of content and inconsistency from its features. The LP is only 10 tracks, including an intro, outro and interlude, while “On Me” and “Pussy Got Slap” are rereleases. ESGN affiliate G-Wiz delivers a respectable but ultimately forgettable 16 on “Bitches, Dope And Dollars,” and Problem’s verse lacks the replay value of fellow featured emcees Trae Tha Truth, Yukmouth (“I Be On My Grind”) and Sir Michael Rocks—the last of which introduces himself as “the type of guy to make your thighs get a divorce” on “I Wanna Do It.”
Clocking in at just 29 minutes, The Tonite Show finds Gibbs firmly cruising in one lane, and developing an undeniable and unexpected rapport with The Worlds Freshest. While the concept wears thin, Gangsta Gibbs is able to adjust to the Zapp and Dre-inspired beats without swerving from his hardened formula, and after the harrowing stories from projects past, a celebration feels warranted this time.