If you’re not paying attention to Chief Keef it’s a problem. Since the early 2010’s he’s been undeniably one of the most influential figures on the modern music scene  — and I would go so far as to say all time. Just 28 years old, his most recent venture “Almighty So 2” is one among dozens of projects — and maybe his most evolved. At his core, Keef is an innovator, and “Almighty So 2” takes the sound of Chicago drill that he’s pioneered into a thrilling new lane for the artist. 

Similarly to Keef’s 2021 album “4NEM,” “Almighty So 2” opens with minimalist grandeur on “Almighty (Intro),” where the backing operatic vocals soar over drums, building until Keef starts his slow yet epic verse one-third into the track. 

The next few songs up the menace levels, particularly from the fantastic features on “Neph Nem” with Ballout and G Herbo, and “Jesus” with Lil Gnar, the latter being exceptionally ambitious. The exception here is the bitingly funny “Jesus Skit,” where comedian Michael Blackson dissects which black artists deserve reparations (no to Drake, yes to Keef), though the skit does overstay its welcome a little. 

“Runner” is another standout here, Keef’s incorporation of a Nancy Wilson sample into that last verse is honestly incredible and something I’ve never heard before. “Runner” is followed up by twin bangers “Banded Up” and “Grape Trees,” both featuring female rappers Tierra Whack and Sexyy Red respectively. Sexyy especially has been one of my favorite recent Keef collaborators; the pair seem to have similar mindsets — bonding over never wanting to get married here — and she always manages to match his hotheaded energy, making for probably my favorite track on the album.

While I could talk forever about “Almighty So 2” delivering heat front to back, it’s really the artistry present on the project that sets it apart in Keef’s discography, and music as a whole. The album’s been in the works since 2018, burdened with delays, and the care, time and delicacy Keef has treated “Almighty So 2” with is palpable in the finished product. Save for one song, Keef produced the entire album, an insane feat for a project of this scope. And the production is stellar! The sounds are diverse and Keef professionalizes a lot of the harsh edges that have been a hallmark of his previous work. Normally this kind of softening wouldn’t be my cup of tea, but it feels less like censorship and more like maturity. Keef executes this evolution with finesse, seemingly operating on a more ambitious scale than ever before. It’s obvious in the mixing too, which is crisp and delicate as the drums assault my ears in the best way. 

In the lyrics, Keef is self-assured that he’s on top of the rap world. He boasts, as usual, but he seems grounded and mature. Keef knows he deserves his flowers and he takes an album-long victory lap, a celebration of life, his influence and come up.

Keef is still here, he’s growing and he’s pumping out some of the best music of his career.