Editor’s Note: This article contains explicit language and mentions of self-harm and sexual themes. 

Megan Thee Stallion reminded everyone she is still THAT girl on her third studio album titled “Megan.” 

Released on the last Friday of June, the 18-track album uses genre-mixing and artist collaboration to give listeners an idea of who Megan is. 

“Megan,” hits you with her voice and confidence on her first track, “HISS,” and continues throughout the majority of the album.

With similar sound and cadence, the songs can sound the same, especially if listeners do not pay attention. However, if you listen closely to the beats and lyrics, it is clear that Megan is not a one-note artist.  

The song “B.A.S.” resembles the sounds of New York drill, which makes sense as the featured artist is Kyle Richh, a member of the Brooklyn drill group, 41. 

“BOA,” which was released as a single before the album, is one of her catchier songs, specifically the part of the chorus where Megan satisfyingly says “womp” repeatedly over the beat. 

The catchiness of “BOA” could also be due to the sample from Gwen Stefani’s “What You Waiting For?” used throughout the song. 

On this album, Megan uses a variety of references and rhymes to create different bars that make you feel as if she is talking about 1000 different topics, even if it is just her reminding you that she is a “hot girl.”

While confidence is a common theme in her music, Megan is not afraid to be vulnerable. Within the last few years, Megan has opened up about her mental health and launched a website titled, “Bad B— Have Bad Days Too,” a site where people can find mental health resources. 

In this album specifically, she dives into her depression and feelings of loneliness in the tracks  “Moody Girl” and “Cobra,” both of which are slower.  

I am not a fan of Megan’s slower songs because they tend to lack the punchiness her faster songs have. However, “Cobra” stood out to me due to the amazing guitar solo that ends the song. I think this song may be the most vulnerable on the album, as her lyrics clearly depict her relationship with depression, alcohol and people in her life. 

“How can somebody so blessed wanna slit they wrist? / Shit, I’d probably bleed out some Pinot / 

When they find me, I’m in Valentino, ayy,” Megan raps on the more rock-like beat. 

These two more emotional tracks are the last on the album, making it seem as though she wanted to hide these tracks much like she hides her emotions. 

Megan is a known anime fan and references it often in her music. She combines her love of anime and Japanese culture with her music on this project. Her song, “Otaku Hot Girl,” starts with an introduction from Adam McArthur, the English voice actor of the anime character Yuji Itadori from “Jujutsu Kaisen.” 

“I like a tall woman, with a nice big a— / Just sayin’ / like Grammy winner, Megan Thee Stallion,” McArthur said. This song also has a lot of anime references, again showing Megan’s love for the genre. 

In this song, she mostly references “Jujutsu Kaisen,” specifically in the chorus rapping, “Ayy, can’t touch me like Gojo (Gojo).” 

The amount of references I do not understand makes me interested in watching the shows she talks about, even as someone who is not a huge anime fan. 

Megan also collaborated with Japanese rapper Yuki Chiba on the song “Mamushi.” This song is catchy with somewhat of a call-and-response happening between Chiba and Megan. The simplicity of the song may not be everyone’s cup of tea, but it is definitely mine. 

Speaking of collaboration, the Texan rapper made sure to represent Southern rappers on her album. Fellow female rap star, GloRilla, is featured on the track “Accent,” and southern 90s hip-hop group UGK is featured on the track “Paper Together.”

Megan Thee Stallion has not been afraid to talk about her sexuality in her songs, and this album is no different. 

“Broke His Heart” cleared up any questions people had about the rapper’s sexuality, as she casually mentioned her attraction to men and women. 

“I like girls, and I like n— (Yeah), both of ’em gettin’ ate (Ah),” she raps. 

Typically, when I listen to Megan Thee Stallion, my mouth is left agape because of how out-of-pocket and clever she can be. However, the track titled “Downstairs DJ” made my jaw drop at the very obvious masturbation references. 

While “Megan” is not an album that should be played around everyone, the variety throughout the album can introduce any listener to genres that they may not have considered beforehand.