Donald Glover is undeniably one of the most talented — or at the very least ambitious — artists of his era. The multi-hyphenate has made a name for himself in every medium he's pursued, whether TV, movies or music, garnering acclaim in every field. As much as Glover has done, his output as Childish Gambino is likely the most definitive work of his career, rivalled only by his FX series Atlanta. With his latest record, Bando Stone & the New World, Glover is seeking to retire the Childish Gambino character with his most musically diverse outing to date, one that also serves as the soundtrack to this upcoming, self-directed and self-starring film of the same name — because of course he is.
With the film still unreleased, Bando Stone exists in a weird space. It's the soundtrack to a movie we haven't yet seen, and as a result, the listening experience can be a bit jarring. The album will swing from genre to genre without context outside the smattering of dialogue sprinkled between tracks. Additionally, there are moments here where it's clear that Glover is performing from the POV of a character ("Lithonia") while others are clearly from his own ("Yoshinoya"). It wouldn't be a huge deal if the album had a more consistent sound, but as it stands, Bando Stone lacks any real identity outside of being the soundtrack that it will eventually become, or a final album that exists solely to exhibit Glover's impressive range.
Maybe the idea was to allow the listener to forge a connection to the music before viewing the film and having songs connected to their corresponding scenes forever. It's an interesting idea, but the reality is that the album feels more like a playlist than anything else, as the sole through-line for the incredibly eclectic collection of songs is one that doesn't exist yet.
That's not to say Bando Stone is a total failure — on the contrary, it's quite an impressive collection of songs. Glover has brought forth an incredibly well-produced blend of hip-hop, alternative R&B, pop, jazz, rock and electronic music — there's a nice balance to the record, as a chunk of the songs here feel like a mosaic of familiar sounds that he's already explored, while others are newer, fresher ideas. Sometimes a logical progression, sometimes a massive leap into unexplored territory, Bando Stone yields varying outcomes.
The biggest drawback to this approach is that the familiar fare stands out as the more fleshed-out and complete moments on the record. Whether due to a sense of familiarity or a polish that's come with his experience in those spaces, it's clear that those songs make up a good chunk of the highlights here.
"Steps Beach" is easily one of the more impressive R&B-leaning jams of Gambino's career, existing in the realm of Because the Internet cuts like "Shadows" and "Urn" while having slightly poppier sensibilities. Glover's voice melts over plucky acoustic guitar strings during the verses, his vocals beginning to layer as soft synths blossom into the instrumental for the chorus. The gorgeous soundscape is matched by a very earnest romanticism, as Glover details sweet, sentimental anecdotes from his relationship and summer days spent at the titular beach.
Another moment that harkens back to Glover's earlier works is "Yoshinoya," the best of the few rapping performances on this record. Starting relatively dialled-back, Glover's flow is measured as he matches the pace of the instrumental, not faltering as it evolves and 808s come rolling in before the beat cuts leading into a massive transition. After that switch, we get a glimpse of Childish Gambino as we'd gotten to know him on his earlier projects, the cocky, sarcastic outcast that relishes in his wit and style despite the pushback received from traditionalists (whom he snarkily addresses on the opening lines, "This is a code red for old heads / Who never liked my short shorts and PRO-Keds"). It's a bittersweet moment that gives an idea of the rapper he's evolved into despite indulging that sound less frequently since Awaken My Love! — it feels like Glover giving a proper send-off to Childish Gambino, the rapper.
There are a few more notable moments here. "In the Night" is a smooth, summer-ready jam, dominated by show-stealing appearances from Jorja Smith and Amaarae. The Yeat-assisted "Cruisin'" is a fun foray into more modern hip-hop stylings, even if Yeat feels criminally underutilized. "Dadvocate" and "Can You Feel Me" find Glover exploring fatherhood, with the latter featuring his eldest son, Legend, which makes for an undeniably adorable moment.
The weakest moments here are the ones where Glover feels like he's being experimental for the sole purpose of being experimental. The intro, "H3@RTS W3RE M3@NT T0 F7¥" is a pretty clear imitation of what Kanye was doing on Yeezus without anything real behind it, and quickly devolves into being slightly less obnoxious than the title's spelling. "Got to Be" starts relatively beautifully before a complete 180 into a chaotic instrumental that Glover is stuck playing catch up with. When Glover takes a back seat to an off-kilter (for him) instrumental and lets that be the driving force of the song, he tends to stumble.
As well-produced as the eclectic soundscape is, that sonic diversity is both Bando Stone's greatest gift and its biggest curse. Glover is clearly better than he's ever been in almost every regard; his rapping, singing and everything in between feel refined to a point they never have. The issue is that, without the movie, there's no connective tissue between these songs, as great as the majority are. For now, Bando Stone & the New World exists as a collection of songs that are mostly great, but lack any real sense of cohesion between them.