Megan Thee Stallion tells her story her way with 'Megan'

Shirtless men with black leather pants begin to make their way up the stairs towards a massive-sized hatched egg atop a flight of steps. As the performers edge towards the platform and properly crack the egg, Megan Thee Stallion awaits with her microphone-in-hand to belt out the lyrics to “HISS," a track that released at the top of 2024 and arguably started a mudslide of diss tracks, sneaky reference, and social media eruption. It’s the first song the audience was introduced to from her self-titled album, Megan, which was released on June 28 of this year.

Megan feels like Megan. And that was the goal

The track set the tone for a project that explores the betrayal she endured, the self-reflection she spearheaded, and the celebration of a success that awaits her. If the goal was to encapsulate us with authentic stories of how she sexually whips her suitors, throws a diss or two, and keeps butts shaking throughout the summer, she hit the nail.

In an interview with L’Officiel, Megan Thee Stallion wanted to make sure readers understand that her creativity supersedes her vitriol and that the direction of her album wasn’t predetermined by the sting “HISS” left behind.

"“HISS” was me just getting the things that I had to say off my chest. I'm really not focused on the negativity on my album. I have a lot of different songs on the album because my emotion doesn't stop at anger."
Megan Thee Stallion

Her vengeance spins the block on tracks like “Rattle," where she raps, “Only time y'all weak hoes link up/It's when another bitch tryna get rid of me." Thee Stallion was spot-on when referencing the pivot listeners would experience as she makes a sharp turn into a lane of free energy with “Where Them Girls At," which samples Kstylis’ hit “Booty Me Down." The album is equipped with twists and turns that manage to stabilize as the wheels begin to wobble.

Megan’s most viral hit comes with a feature from Japanese artist Yuki Chiba, who undoubtedly helped her craft lyrics for the song, “Mamushi." Even with social media users criticizing the tone in which she speaks the Japanese bars, the Houston standout continues to burrow into everyone’s minds with the trending bop. The collaboration was a signal of the continuous admiration that Megan has for the culture.

One of the album’s pleasant surprises was an unreleased verse from the legendary Pimp C featured in “Paper Together," which included Megan’s most lyrical performance on the project. While Pimp C’s verse slinks across the bluesy elements of the production, Meg’s distinct Southern accent draped in silk aggressively rolls over the instrumental followed up by a Bun B masterclass in closing out a track. The link was an iconic celebration of hip hop heroes that assisted Megan in the creation of the sound we hear blaring through the speakers today. Throughout the album, she does a slick job of juggling styles while maintaining a successful glide between tempos.

With a rollout that included a tour featuring song mate Glorilla, and several other show-stopping pop-ups such as Cardi B, Flo Milli, and Latto, Megan Thee Stallion’s third studio album has produced a No.1 single on the Hot 100 and a debut that peaked at No. 3 on the Billboard 200. An artist who seemingly evolved from the pain that promoted Traumazine and the rightful recklessness of Good News, Megan is a generous blend of the most beautiful and dangerous parts of her experiences.

Buddah Bless and Jacob Waddy leave air in the production on “Miami Blue” that allows Meg and Big K.R.I.T. to behave as additional notes while the xSDTRK and Akeel-produced “Spin” sets the stage for a sultry combination of sexual confidence from Megan and sonically addictive vocals from Victoria Monet.

Common critiques of Megan Thee Stallion’s album, Megan, is that the versatility of her cadence and delivery is compromised by a production that feels stagnant. Often an audience expects all spectrums of music from their favorite artists. Yet, they fail to appreciate how much an artist respects the foundation that grounds their work. The album is designed to reflect her journey and her voice. To expect a complete reverberation from a sound that she’s framed her career around is gullible.

The album is not for all audiences, but throughout the project, we hear Megan’s removal from approval as a measuring stick for her greatness. Everything that she has endured publicly in the last few years has lent its hand in the cultivation of 18 songs that continue to pull back the curtain on who she has become. Megan feels like Megan. And that was the goal.