Trippie Redd- “Pegasus” Review

Trippie Redd- “Pegasus” Review

After blowing up in 2017 due to his revered A Love Letter to You mixtape, Canton Ohio’s Trippie Redd was destined to be trap’s next superstar. Since then, the 21-year-old rapper’s image has plummeted as, despite acclaimed albums like 2018s Life’s A Trip, the rest of his catalog has been pretty lackluster. With all this being said, Trippie still has a chance at redemption with his brand new LP Pegasus. Despite its 26 song red flag, singles like “Excitement” with PARTYNEXTDOOR and “I Got You” with Busta Rhymes have been promising. With his legitimacy as an artist being on the line, can Trippie Redd silence his haters?

Sitting through over an hour of nearly any artist’s material is overbearing, so for someone like Trippie Redd, it’s almost undoable. It’s hard to pinpoint anything consistent about this record as anything integral is drowned out by the slew of muddy R&B ballads and disposable trap bangers. When it comes to unoriginality, the project is loaded as Tripp gives his all at cheaply emulating his peers who are beyond and above him. Whether he’s mocking Roddy Rich’s delivery on “So Stressed” or Playboi Carti’s baby voice on “Good Morning”, it’s pathetic to hear half-hearted rip off’s of the genres hottest acts. Even though their bland copies, they somehow manage to be better than low points like the obnoxious “V-12”, miserable “Pegasus”, and disgustingly boring “Let It Out”. Even the anticipated installment to Trippie’s popular “Love Scars” series, “Love Scars 4” is mediocre at best. While his most renowned song saga fails here, “Oomps Revenge, Pt. 2” at least upholds its predecessor’s name. Deluded in this landfill, cuts like “The Nether” and “Don” easily some of its best moments. Seeing Trippie Redd ditch the autotune and humanize himself doesn’t just show his artistic ability but also his skill as a legit MC. Sadly, the only other salvageable songs come in the form of collaborations. Teaming with Future and Doe Boy for “Kid That Didd”, Sean Kingston for “Red Beam”, and Young Thug for “Spaceships”, they are some of the only times Trippie feels coherent with his vision. Just as all things on this train wreck, they come with a compromise, and in this regard, “Hell Rain” with Lil Wayne, “TR666” with Swae Lee, and “Mood” with Chris Brown just scratch the surface of this lopsided deal. While once considered a premier rising artist, Trippie Redd seems to have already fallen off at the young age of 21. 

Sonically, each instrumental continues to define why mainstream hip hop has become so frowned upon. Suffering from the same issues its vocal counterparts do, there is absolutely no risk or shock value to keep the audience engaged. From the intro, “Let It Out”, to its closer “Sun God”, there’s nearly nothing interesting to be said about the sonicallity of any of these tracks. The most credit I can give would be to “Kid That Didd” which is only notable as it sounds like a throwaway from one of Future’s earlier albums. It’s this rinse and repeats formula that is making modern trap music lose more and more credibility each year. If any a-list artists attempted to do something different instead of utilizing these spaced out anti-climatic drum-ridden explosions, there would be more room for improvement and growth amongst the playing field as a whole. Very similar to the albums NBA Youngboy and YG have given us recently, Pegasus’s soundscape crumbles from being painfully average. 

Maybe if Pegasus was slimmed down and focused, it could have been decent, but the way it is, most won’t bear through a single listen. Even for the most die-hard of Trippie Redd fans, there’s nothing that makes this feel any different from his previous disaster, A Love Letter to You 4. Being only 21 years old, Trippie Redd still has the ability to turn things around, but as his easy cash grabs continue to sell, I doubt we will ever see him make a return to form. 

Rating: 2.2/10


  • When Trippie shows his rapping ability, it’s solid
  • The few bangers that exist are fun 
  • Unexpected celebrations turn out great


  • Production is some of the most generic of the year
  • Feel like Trippie’s making the same four songs 
  • Most features are terrible 
  • Flow/Delivery ranges from mediocre to atrocious 
  • Tracklist is way too long

Written By: Mr. Fantastic

Scored and edited by: Mr. Fantastic, owner and founder of Fantastic Hip Hop

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