Six years in the making, ‘Look At Me Now’ is the long-awaited debut album from OneFour, the Samoan-Australian four-piece who defied the odds and endless legal battles to remain the country’s drill pioneers. Comprised of J Emz, Spenny, Celly, and Lekks, they emerged in 2019 when UK drill and Pop Smoke dominated rap, and it was inevitable the sound would travel to all corners of the globe. Their ruthless bite over skittish, sliding 808s in viral hits like ‘The Message’ and ‘Spot The Difference’ took them global, rubbing shoulders with heavyweights like Headie One and The Kid Laroi.
Despite gold-certified success with their ‘Against All Odds’ EP, they’ve faced plenty of resistance. Most of OneFour have had run-ins with the law over violence and firearms: most famously, Lekks and Celly alongside former member YP (who has now become a priest), were incarcerated for their roles in a 2018 violent pub brawl in Rooty Hill. Authorities issued injunctions and criminal orders against them in an attempt to restrict their tours and performances, claiming their music incited violence. But OneFour’s pure passion for rap turned into a mini revolution: a voice for the marginalised, the lower class disproportionately hit by systemic failures. So, when you press play, understand this: this record is bigger than rap, literally.
Even when divorced from the story behind it, ‘Look At Me Now’ is still a good listen. Fans expecting that frenetic drill energy may be surprised: OneFour level up here, broadening their palette with pop-rap hybrids. ‘Change’ opens with gentle piano and bombastic drums while the crew – plus North London’s own Potter Payper – reflect on overcoming the hand they’ve been dealt.
“I’m proud of where I come from, I be proud to be in it,” Celly bursts with pride in the opening verse. “Do it for the kids and lads from housing commission.” From there, they swerve into pop terrain: ‘Father’s Day’ rides a high-octane beat where drill and EDM collide. ‘Family’ sees J Emz – the group’s unofficial frontman – wrap AutoTuned melodies around themes of loyalty and blood ties. The horns swell and it all feels cinematic, but the familiar patterns of measuring manhood, testing who’s the toughest, get repetitive quickly.
While pushing towards a more pop sound, the group quietly reveal their personal growth, threading through an emotional clarity that wasn’t always present before. The title track is a raw admission of internal conflict. Lekks grapples with the pull between religion and street life, rapping: “They confused on how I’m Christian when I’m talking ’bout them killings…/ I was raised to be an angel, but the streets made me a villain.” J Emz reflects on loyalty and loss, Celly reveals the harsh realities he’s witnessed, and Spenny offers introspection, showing that beneath the bravado lies a deeper awareness of the consequences of their lifestyle. Together, the song’s a complex portrait of men torn between their past and the hope for something better.
Sonically, ‘Phone Call’ and ‘Distant Strangers’ show a new maturity, painting a vivid picture of splitting your heart between your lover and the streets. The former is much more pop-drill adjacent – full of warped vocal chops, tender guitar plucks and stuttering 808s – with J Emz and Spenny teaming up with UK pop powerhouse Mabel to move away from their boastful ways in a fun and catchy vibe that interpolates Bob Marley’s ‘Is This Love?’. ‘Distant Strangers’, meanwhile, is cold and brooding, capturing the isolation of divided loyalties and fractured relationships, The Kid Laroi and Imogen Heap’s raw, yearning vocals contrasting with icy production for one of the album’s most vulnerable moments.
Rooted in UK drill influence, it’s no surprise ‘Look At Me Now’ features a plethora of UK heavyweights – K‑Trap, Abra Cadabra, Nemzzz, and Headie One – and those team-ups work for the most part. ‘Gang Ties’ with Headie sees a genuine cross‑continental synergy that works tenfold, with the Tottenham rapper’s measured delivery cooling down the group’s rowdy temper. Abra Cadabra also shines on ‘Movie’ with his distinctive, menacing gruff that seamlessly pairs with the rest of OneFour’s Aussie grit. But K‑Trap’s collaboration on ‘Bricks & Mortar’ doesn’t quite hit, feeling more perfunctory than a moment seized. These link-ups still prove that, although OneFour were students of the UK, they’re now building the Aussie empire brick by brick.
OneFour’s voices have always moved like one – a Voltron of war-ready bravado, tagging each other in mid-fight. But, on ‘Look At Me Now’, sometimes that unity works against them: their stories blur together with very few solo moments. Still, ‘Look At Me Now’ is a solid debut. Both vicious and introspective, this album won’t knock you off your feet, but it’s a gritty insight into OneFour’s world, showcasing a raw potential that’s still waiting for its moment to explode.
