They return to a much-changed world, but are they themselves changed? Are they older and wiser? Well, yes and no. Fatherhood, personal demons, love, addiction, and sobriety have certainly reshaped the pair, but Competition Is For Losers has the vibe of old pals meeting up in a home town boozer on Christmas Eve. The conversation might at times take on the weight of years, but those old rhythms remain there to be slipped comfortably into.
The old schtick still works more often than it doesn’t, even now Stephens and Alexander-Sulé are into their 30s. The beats at their P-funk strutting best conjure The Pharcyde and Roy Ayers (at their worst, we’re into Temu Bruno Mars territory). The album opens strongly with the (relatively speaking) gritty and propulsive “Bad Tattoo,” and first single “Javelin”. The latter in particular evidences that Rizzle Kicks recall all the old routines, with Stephens’ laid back charisma and Alexander-Sulé’s hearty harmonies untouched by the years and as effective as ever. “It's time for the comeback, yeah they want that / Everybody missing fun rap but they're on tap,” Stephens says, and it’s hard to disagree – if ever a time needed Fun Rap, it’s probably now.
It’s tough at times to know at times if they’re in on the joke, if, indeed, there is a joke. Late cut “Gumdrops” feels simultaneously like the perfect second single and a song that could drive you utterly mad if it became a hit (that “goodie goodie gumdrops” hook, equal parts sharp and infuriating). In theory it’s a dissection of early aughts lad culture; in practise, it’s a list of things that teenagers liked circa 2004 – FHM, Freddo bars, ciggies. Witness the chorus’ hook – “I'm way too high off that sugar,” after a line about doughnuts - and think OK sure, they’re having a laugh. But then Stephens launches into another verse about the pretty mundane things he enjoyed doing as a teenage boy, and think No no - this is supposed to be some heavy, Proustian shit.
The duo make a valiant effort to tackle heavier topics,
though the results are a mixed bag. The record’s sore thumb is “Pleasure
& Pain”, a patience-testing 5 minute ballad in which Stephens gives
a passing mention to every weighty thought that passes through his
mind. In rolling news fashion, he checks off Grenfell, suicide, racism,
depression, the loss of cultural leaders, and plenty more besides. Of
course we don’t need the rapper from Rizzle Kicks to explain why those
things are bad, but the surface level treatment of such a plethora of
emotive topics feels perfunctory. His most interesting bar, recalling
2010s pundits telling the group “We don’t like rap, we like you / Wide
eyed and unoffensive” is dashed off right at the close. And that’s
without even mentioning the slushy, string-laden instrumental,
reminiscent of Mike Skinner at his most saccharine.
They’re far better when they’re looking inwards. “Good
Luck” is a shot in the arm, buoyed firstly by a head bobbing bass line,
secondly by Stephens’ performance, bringing a new and improved flow and a
much-missed energy. He raps about a development arrested by youthful
fame, realising your mentors and heroes are just as flawed as you.
“Vice” applies the time honoured trick of a boppy tune with heavy lyrics
(the “Glory Days” effect), with Stephens candid about his substance
issues. “I’d already spent a fortune, hedonism costs but what an awesome
high / Living off the thought that I’m an awesome guy”, he spits,
before immediately copping to bedroom performance issues and his days as
a desperately searching party animal.
To damn them with faint praise, they remain likeable enough
that it’s hard not to root for them, and they bring sufficient charm
and personality to the table to bolster some of the flatter tracks and
cringier bars. Given their myriad other commitments, time will tell if
Rizzle Kicks are back to stay, but Competition Is For Losers offers plenty to the fanbase, even if youthful exuberance hasn’t entirely been replaced with something more substantive.
