Will Smith has come out of hiding. After slapping Chris Rock on live television at the 2022 Oscars, the public hasn’t heard much from the Fresh Prince of Bel Air. Following this dramatic exit from the public eye, Smith has made an equally bold comeback, releasing his first album in 20 years: Based on a True Story.
And Smith wastes no time getting straight to the point. He opens his album with “Int. Barbershop – Day (feat. DJ Jazzy Jeff and B. Simone),” which depicts a passionate argument between Smith’s critics and defenders. Not even one second into the album, Smith addresses the elephant in the room, emphatically rapping “Will Smith is cancelled,” followed by a quick rebuttal: “Oh, you can’t cancel no icon.”
As the album progresses, Smith is quick to acknowledge every tabloid story that has affected his reputation. While most center around the 2022 slap heard around the world, others discuss his complicated relationship with his wife, Jada Pinkett Smith. He’s seemingly sick of all the whispers about their separation (and Jada’s alleged infidelity), telling listeners that it’s his “personal life” and to “Mind your business, it’s complicated,” in the track “You Lookin’ for Me.”
Despite all the criticism, Smith is staying strong. He demonstrates unwavering determination to rise above the hate in “Bulletproof,” rapping “Whole world against me, and it ain’t even bothering me / I’m bulletproof.”
Throughout Based On A True Story, Smith tries to prove his ego isn’t bruised from the plethora of Slapgate memes. But with almost every other lyric referencing his fall from grace, the scandal seems to still bother him.
It’s unclear whether Smith’s continued honesty is a true display of vulnerability or just a poorly disguised stunt to stay relevant, further capitalizing on his controversies. But regardless of the intention, Smith embraces his past misgivings and promotes a message of relentless positivity, telling us that we can get through hard times if we “Just smile.”
He urges us to reflect on the challenges we have faced in “You Can Make It”—by acknowledging our faults and failures, we can be grateful for the lessons they have taught us.
“In the rearview, I see adversity was the gift / To lift me higher,” Smith raps.
Musically, the album is underwhelming. Much of it attempts to emulate the style of renowned hip-hop artists, such as Ye or Kendrick Lamar. This effort is undermined, however, by campy choruses and instrumentals that seem like they came straight out of a Lin-Manuel Miranda Disney soundtrack—“Rave in the Wasteland” being a prime example.
This failure might have been salvaged by poignant lyricism, but unfortunately, Smith disappoints here as well. He lacks clever wordplay, with most of his lines feeling like they are simply filling otherwise empty space. Bars like “How you sleepin’ on me when I am a sofa?” permeate the album, making the project sound rushed and unfinished.
There are redeeming moments throughout Based on A True Story—mostly found in the features, though. Teyana Taylor’s vocals in “Hard Times (Smile)” provide some relief from the otherwise dense, preachy tone in previous tracks. Honestly, I would just listen to her solo album instead.
As the album progresses, Smith’s message of overcoming obstacles through self-reflection and spirited positivity devolves due to the lack of musical substance. The truth is, this album is a fallen celebrity desperately seeking to justify his transgressions and regain some attention. The beats are overproduced and unmemorable, the lyrics are either shockingly bad or just weird, and Smith comes off as a washed household name that resents his new reputation.
Smith’s contributions to hip-hop, let alone pop culture in general, over the years cannot be understated. The 1997 album Big Willie Style gave us the undeniably catchy “Miami,” and Smith’s acting career has brought us Hollywood classics, from essential TV shows like The Fresh Prince of Bel Air to tear-jerking masterpieces like The Pursuit of Happyness.
But Based on a True Story doesn’t remind the public of his genuine ability. It just feels like another thing for Twitter to make fun of. Smith is returning to his hip-hop roots in this album, displaying raw vulnerability and acknowledging every critique with utmost honesty—and there is certainly respect in that, but it would be better if the music were actually good.
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