She may never be seen without her mask, but
Leikeli47 reveals more of herself, and her world, on
Acrylic. The second installment in her trilogy of beauty-oriented albums, it's a bigger and brasher effort than her underappreciated debut Wash & Set. As
Leikeli47 explores the fortifying confidence that comes with control over one's image and identity, the album boasts more range, more color and a glossy topcoat of varied, inventive productions. Like her debut,
Acrylic overflows with catchy, witty, empowering tracks, whether
47 compares herself to a bulldozer on "Tic Boom," shouts out to photographers, designers, and selfie culture on "Post That," or praises the strength of the black women who raised her on "No Reload." This time, however, she does an even better job of setting scenes than she did on Wash & Set. On
Acrylic's deceptively bouncy title track, she establishes the nail salon as a sanctuary and manicures as armor against the racist cops patrolling her neighborhood; on "Talkin' to Myself," she nods to the Flint water crisis with lyrics like "We don't need to be shot up to be filled up with lead."
Leikeli47 matches the album's cohesive themes with wide-ranging sounds that borrow from dancehall ("Bad Gyal Flex"), ballroom ("Full Set [A New Style]"), gospel ("In My Eyes"), and more. On
Acrylic's second half,
47 goes beyond the album's shiny surfaces and shows more of the vulnerable side that peeked out every now and then on Wash & Set. She's smoothly flirtatious on "Top Down" and the lovers rock-tinged standout "Hoyt and Schermerhorn," and confessional on "Droppin'," where she compares herself to the baby left in a dumpster in
Tupac's "Brenda's Got a Baby." She brings it all together on
Acrylic's centerpiece: "Roll Call" is a rousing celebration of HBCUs that includes teachers like
MLK and
Lauryn Hill in its wide embrace. It's the most exciting song on
Acrylic, an album that takes
Leikeli47's music in harder, more reflective, and more satisfying directions. ~ Heather Phares