Kendrick Lamar's GNX: Channeling Nietzsche's Power and Style (and other stuff)
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| Kendrick Lamar with his 1987 Buick GNX. I love the minimalism here. |
I have been impressed with the music of Kendrick Lamar since I got into 2017's DAMN. back in 2019. I was definitely late for that party but better late than never, right? His Mr. Morale & the Big Steppers (2022) didn't really impress me. But, I was on point (kinda accidentally) when GNX, his latest album, dropped with minimal fanfare on November 22, the anniversary of JFK's assassination (which is probably just coincidental). I was captivated by it for a couple of days but then had to refocus and finish my originally preferred interest in the music of Florence Price. But even while working on that I would sneak in some GNX now and then. The juxtaposition of Kendrick with Price is rather symbolic of the bizarre way my mind works most of the time. Ah, dichotomy.
I was introduced to GNX through a 1-minute teaser video that really caught my attention, mostly for its marvelous, powerful minimalist visual aesthetic. I was later surprised to learn that this short video (entitled "dot" as in K-Dot) was not included on the album at all. Hmmm. Shortly thereafter, I read where GNX is Kendrick's shortest album ever. Hmmm. Those two small details fixated in my mind and inspired the idea that he must have more material to release. He's holding back a second, maybe even third, album. Who/what could possibly top a freakin' trilogy?! There's some buzz online about another album dropping but, given the fact that Kendrick released GNX with nothing more than an unexpected tweet for an announcement, no one outside of himself knows what's coming next, if anything. But the internet buzz came only after I had already formed my suspicions based on the meager evidence I just mentioned. It was just a spontaneous hunch.
Anything's possible. I think Kendrick Lamar's brain has had a creative explosion in 2024. The diss-war crap with Drake and whoever else that led to the outstanding single “Not Like Us” among other songs was actually just the catalyst to something much bigger. GNX is that something bigger. And it is HUGE, debuting at No. 1 on the Billboard Top 200. The album features 12 tracks and numerous collaborations with a lot of up and coming artists. Kendrick also took on more production duties than in the past, so he could maintain as much control of the project as possible (and control the input by others which he valued most).
GNX shines a spotlight on Kendrick's lyrical mastery with diverse production, unexpectedly incorporating jazz, funk, R&B, even some orchestral arrangements along with the classic hip-hop influences and innovative beats that you would expect. This is not “just” a hip-hop album. This is a celebration and proclamation of a fresh, unique style. There's far too many examples of "Kendrick's GNX style" to really go in to. They are mostly small but they all add up to powerful effect. One super cool example is in "wacced out murals" where he simply starts a lyric line and just doesn't finish it, leaving it essentially blank but for the beat and instrumentation. Hey, let's throw a little unfinished silence in there with everything else. Wow! As far as I can tell, Kendrick has always pushed boundaries and GNX stands out for its eclectic production and storytelling.
Thematically, Kendrick delves deep into introspection, social commentary, and existential musings, offering layers of lyrical complexity. Tracks like "heart pt. 6" exemplify his ability to weave personal and societal narratives, while songs like "gloria" and "man at the garden" display his versatility in mood and tone. His ability to merge profound storytelling with diverse musical arrangements makes GNX resonate beyond typical rap audiences (which is where a 65-year-old white southern male comes in).
I mentioned Kendrick's distinctive style. Now, let's add a lot about power. For me, it breaks down like this. Kendrick chose a 1987 Buick Grand National Experimental (GNX) as the metaphoric symbol of the album. Partly, this is because he was born that same year. More importantly, in its time, the GNX model was the definition of a “muscle car” (one of the fastest available) and style (a retro rather than futuristic look). It was also a rarity (only 500 or so units manufactured).
As I listened to the album it became obvious to me that these were underlying themes. From the power of the GNX automobile to the power and personal dynamics within hip-hop culture and the associated record industry, Kendrick critiques the power structure, the struggles and conflict, and seeming contradictions within the entire music industry itself. Ballsy stuff.
As far as I know, he has always been adept at examining power dynamics and the pursuit of dominance (or at least being a top dog), and this theme resonates throughout the album on multiple levels. The car’s reputation as a symbol of raw power ties into Kendrick’s narrative of striving for greatness while navigating the complexities of ambition. The GNX serves as both a metaphor for personal drive and the complexities inherent in the pursuit of success.
Kendrick directly addresses power struggles within the hip-hop industry and the broader music business. The transition to releasing GNX outside of his previous distributor, Top Dawg Entertainment, reflects his assertion of independence and critique of what he sees as exploitative structures. Throughout the album, Kendrick wrestles with the duality of power—its capacity to liberate and uplift versus its tendency to debase and exploit. This theme aligns with his broader discography, where he often critiques the societal obsession with power while acknowledging its allure.
Kendrick positions himself within the power structures he critiques as both a participant and a challenger. Lyrics like "I deserve it all" (from “man at the garden”) encapsulate his acknowledgment of his earned place at the top of the industry, while simultaneously exploring the tension between entitlement, merit, and the corrupting influence of power. The frequently repeated line "I deserve it all" proclaims his belief in his rightful place atop the upper echelon of hip-hop. This reflects not only his artistic mastery but also his perseverance against systemic barriers, showing how he has harnessed power to achieve success while maintaining his authenticity.
Kendrick emphasizes that his power stems from talent, vision, hard work, and a deep understanding of the cultural and historical weight of his artistry. This framing distinguishes his position from others who might achieve power through exploitation or conformity. While asserting his place, Kendrick critiques the very systems that enabled his rise. He attempts to navigate the contradictions of being a figure of influence within a vicious music industry, questioning the cost of power and success.
Throughout the album, Kendrick balances confidence with the often blurred lines between “liberation,” “freedom,” “entitlement,” “domination,” and "exploitation." He examines the moral complexities of power, acknowledging its potential for corruption while striving to use it responsibly. Lyrics reflecting entitlement, like "I deserve it all," can be read as both a statement of self-worth and a critique of how power is distributed and maintained in an unequal world. This duality—of wielding power while critiquing it—positions Kendrick as both an insider and an outsider, making his reflections on power in GNX deeply layered, complex yet subtle.
So, that's the power dynamic in a nutshell. Now let me pause for a moment and bring up something no one is talking about in connection with GNX – the philosophy of Friedrich Nietzsche. My point here is not that Kendrick is polished up on his Nietzsche. I doubt he's ever read the guy. My point is that, unintentionally, GNX reflects power and style exactly the way Nietzsche discusses in his work.
Nietzsche's concept of “The Will to Power” is a famous part of his philosophy. Of all his short power quotes perhaps his famous proclamation that “I am dynamite!” in Ecce Homo is the most apt here. You can read more Nietzsche quotes about power here and here. Now, about style, Nietzsche wrote in one of his greatest works, The Gay Science: “To give style to one's character—that is a grand and rare art! He who surveys all that his nature presents in its strength and in its weakness, and then fashions it into an ingenious plan, until everything appears artistic and rational, and even the weaknesses enchant the eye...exercises that admirable art.” (I have an entire blog devoted to Nietzsche here.)
That is GNX in spades, blending power and style seamlessly. Style, for Nietzsche, was not just an aesthetic choice but an expression of mastery, individuality, and a refusal to conform to mediocrity. Similarly, Kendrick uses the album’s production, lyrical delivery, and evocative themes to project an image of dominance (or at least of being pioneering and peerless) and cultural sophistication.
Kendrick’s beats, flows, cadences, and wordplay are as much about how he says things as what he says. His delivery is precise, charismatic, and often defiant, embodying a Nietzschean sense of individuality and command.
From the car imagery of the Buick GNX to the album’s elevated standard of production, Kendrick crafts a persona that blends street-level authenticity with high art. This reflects Nietzsche’s belief that aesthetic expression—whether through language, performance, or appearance—is a manifestation of power.
With GNX, Kendrick reinvents himself, eschewing formulaic approaches to release the album independently. This act of defiance is itself stylistic—a bold choice that separates him from the mainstream while highlighting his self-sufficiency.
For both Nietzsche and Kendrick, style is inseparable from substance. It is through style that power becomes visible and persuasive. Kendrick exemplifies this, not merely in his lyrics but in his holistic approach to art. His refusal to conform to industry expectations and his ability to curate a unique, cohesive aesthetic vision make GNX a work that transcends music to become a statement of identity and artistic sovereignty.
The album’s exploration of power and style amplifies the way Kendrick positions himself not just as a participant in hip-hop but as a cultural force that reshapes its boundaries. This dual focus gives GNX its distinct Nietzschean resonance, even if, as I noted, this resemblance is coincidental.
In terms of style, the album blends classic West Coast sounds (about which I know very little) with contemporary production techniques, achieving a distinct aesthetic that captures his identity and artistic range. This duality of paying homage while pushing boundaries has been widely praised, cementing Kendrick's position as a thought leader in hip-hop. Visuals, such as references to the Buick GNX, further enhance the album’s thematic cohesion around power, heritage, and ambition.
Reviews on Pitchfork and Royalty Exchange delve into the album’s themes, production choices, and lyrical depth, highlighting Kendrick’s self-positioning as a powerful and transformative figure within the genre. These sources emphasize his ability to balance introspection with societal commentary, making GNX both a personal and cultural statement.
Regarding the concept of “power” specifically, here is a sample of lyrics from some of the songs, the last lyric is annotated. Interesting side note: While all the songs on DAMN. were spelled in ALL CAPS, the songs on GNX are all in lower case, no caps even for the title song.
From “wacced out murals”...
Y'all stay politically correct, I'ma do what I did
Ain't no sympathy here, this sh!t's hilarious
It's a lot of opinions, but no power to carry it
2025, they still movin' on some scary sh!t
From “squabble up“...
A yee [N-word] couldn't try me in the tri-state
Buddy pass, bet I get him splashed 'til he hydrated
Bounce out, know he spook town, eyes dilated
I got the money and the power both gyratin'
From “man at the garden”...
Keep my name by the world leaders
Keep my crowds loud inside Ibiza
I deserve it all
More money, more power, more freedom
Everything Heaven allowed us, b!tch
I deserve it all
From “reincarnated”...
The women that fell to they feet, so many to choose
But I manipulated power as I lied to the masses
Died with my money, gluttony was too attractive, reincarnated
You crushed a lot of people keeping their thoughts in captivity
And I'm ashamed that I ever created that enemy
Then let's rejoice where we at
I rewrote the devil's story just to take our power back, 'carnated
From ”gloria”...
[N-word], what?
I gave you life, I breathe the motherf#ckin' charisma in this b*tch
I bring the blessings, I gave you power
[N-word], I bring the rainfall, I gave you hustle
Then
fall right back in love the very moment that I touch you (Gah, gah,
gah)
Annotation of gloria:
“The woman Kendrick speaks of serves as a conceit, becoming an extended metaphor for the discussion of his craft. Gloria, which means “glory” in spanish, becomes a personification of rap glory—his “pen” and the artistic journey it represents. The relationship described symbolizes his intimate and often conflicted bond with his art, reflecting its power to uplift and consume him. In this sense, “gloria” follows in the footsteps of other songs that discuss larger issues in hip hop, such as “I Used to Love H.E.R” by Common and “I Gave You Power” by Nas.”
Based on these lyric samples and their context, GNX positions power as both a tool for self-realization and a potential source of corruption. While he critiques performative or superficial power, Kendrick also acknowledges moments where he manipulated it for personal gain. Ultimately, his relationship with power is one of mastery, introspection, and a commitment to using it meaningfully, often tied to his artistry and legacy. To that extent, the album is about personal self-reflection as much as power and style.
While Kendrick asserts dominance and self-sufficiency, these proclamations also suggest an implicit solitude. His elevation to a higher plane of artistry and influence, while empowering, isolates him from those who might challenge or share his vision. This introspection hints at a loneliness that comes with existing in a realm where few can relate to his experience or aspirations.
This plays into another dimension of this theme, the interplay between individualism and community. On one hand, Kendrick celebrates his ability to rise above societal expectations and carve out his identity. On the other, the album reflects his awareness of the interconnectedness of power, legacy, and culture. His critique of the hip-hop industry's materialism and power hierarchies further reinforces his distinct role as a visionary who critiques while participating in the system.
Kendrick’s portrayal of power on GNX aligns with the Nietzschean concept of “master morality,” where power is embraced as an inherent right and a means of defining one's identity and legacy. He positions himself as self-determined, confident, and unapologetic in wielding power. Unlike a morality that seeks to diminish or equalize influence, Kendrick celebrates power as creative, redemptive, and central to his art and life, embodying the master morality’s focus on self-overcoming, strength, and authenticity, all important aspects of Nietzsche's thought.
The snippet's of lyrics above also reflect his style as one of bold confidence, meticulous self-presentation, embracing complexity. He projects a lifestyle of unapologetic ambition and achievement, often tethered to themes of personal and artistic excellence. Kendrick’s style goes beyond material success; it’s rooted in an exploration of identity, legacy, and cultural relevance. His willingness to critique the systems around him while asserting his position within them demonstrates a balance of introspection and self-assured dominance—a lifestyle that is deliberate, introspective, and powerfully expressive.
GNX exudes overwhelming confidence, but subtle moments in the lyrics suggest internal conflict and self-reflection. For example, "gloria" reflects a duality in his relationship with rap, where his craft is both empowering and consuming. While his dominant narrative is one of mastery, these introspective moments reveal an underlying complexity. In "reincarnated," he acknowledges past misuse of power and expresses shame for creating enemies and contributing to harm. This suggests he wrestles with the ethical dimensions of his influence and legacy.
More than any other song on the album, "reincarnated" delves into power's dual nature—its capacity to corrupt and its potential for redemption. He admits to manipulating power and lying to the masses, suggesting past ethical conflicts and moments where power consumed him. However, he balances this by reframing his narrative, declaring a reclaiming of power for positive ends, even rewriting "the devil's story." This self-awareness and effort to regain control over his legacy highlight an internal struggle between the allure of power and the responsibility it entails, enriching the album’s exploration of mastery and morality.
Another aspect of his style that becomes more apparent with repeat listenings is how it conveys anger and frustration, threading these emotions alongside his confidence and technical brilliance. Best I can tell, enthusiasts of the record are drawn to the album's cocky assertiveness, wildly diverse instrumentation and vocals, and almost flippant self-assurance but many fail to accentuate the fact that Kendrick sounds pissed off on many of the tracks. Even though he is constantly praising his obvious talent, he is, at times, pissed with himself, with the hip-hop culture, the record industry and the general societal inequities that are formed by the very power dynamics he attempts to harness for himself.
He proclaims his mastery and yet this very act is exactly the type of thing that he critiques other, presumably lesser, powers for manifesting. This complex and somewhat self-contradictory interplay adds depth to his portrayal of power and identity. His frustration seems tied to the external pressures of the industry, the systemic inequalities he critiques, and the personal burden of upholding his exceptionalism.
In "tv off" (a personal favorite of mine) and the aforementioned "reincarnated" (oh hell, you can't name a song I don't like here), Kendrick channels anger toward power structures, both within the music industry and in broader society. His sharp critiques of materialism, exploitation, and hypocrisy in hip-hop culture reflect his frustration with the very system he dominates. This anger isn’t purely destructive; it drives his effort to expose and challenge these dynamics.
Kendrick’s self-positioning as a singular force in hip-hop comes with a sense of isolation, as seen in tracks like "man at the garden." His pride in being unmatched in skill and vision occasionally veers into frustration at the lack of peers who can meet him on his level (but who criticize him anyway) or who can push the boundaries of the genre alongside him or, worse, just get in his way. His lyrics oscillate between embracing this isolation (it's lonely at the top) and lamenting its emotional cost.
Anger and frustration are not just passing sentiments but integral to the album’s thematic architecture. Kendrick’s anger emphasizes the high cost of power—its corrupting influence and isolating effect. He channels his frustration to signal dissatisfaction with the status quo, hinting at his desire to inspire change, both within himself and in the culture at large. The intensity of his emotions shapes the album’s musical dynamism, driving its diverse instrumentation and Kendrick’s multifaceted vocal delivery. These edgy characteristics give the album an intensity that is not fully captured by the simple eye rolls and smiles by his fans as they groove to the songs.
These emotions make GNX not just an album about power but also an exploration of its contradictions—how it can empower and alienate, uplift and corrupt. Kendrick’s mastery lies in transforming these emotions into art that transcends the personal to engage with universal questions of identity, morality, and legacy. This is, perhaps, the best example of the prominent style he presents with a sense of urgency and introspection.
Perhaps the oddest
thing about GNX
is that, while the songs are overwhelmingly relatable and easy to get
in to, groove to, alluring and often audacious in their scope, there is virtually no joy anywhere on the album.
There is the celebration of success and mastery, yes. There is
creative exuberance and subtle triumphs over struggle, but the sentiment of joy is nowhere to be found. The word turns up once on track one but it is merely a label on a bottle, shelved with no emotion in it at all.
Compared to the dominant tones of power, style, pride, anger, and frustration, joyfulness just isn't part of the equation. GNX is infused with an edge of arrogance rather than celebratory joy. There may be glimpses of joy or satisfaction in a line or two, but even then these are tied to achievements or moments of reflection rather than simple happiness. Make no mistake, the album is fun, even briefly comic, filled with great music to get in to. But the songs themselves are about everything else I've discussed here, not joy.
Be that as it may, I believe Kendrick Lamar has redefined the hip-hop genre, possibly even creating his own sound that is so distinct as to be called its own sub-genre of hip-hop. The Kennification of music, if you will. Nothing else sounds like GNX. He is an artist with an art form unto himself, no different really than what Jackson Pollack or Salvador Dali did with painting, for example. The album’s unprecedented sonic and thematic depth point to this. The record features bold innovations, creating a soundscape that stands apart as potentially its own culture; self-creation and value creation being more cornerstones of Nietzsche.
GNX incorporates a diverse range of instrumentation, such as orchestral elements, live brass, and funk-inspired basslines, often juxtaposed with clever, stripped-down beats. This eclectic mix challenges conventional production in hip-hop, however, where beats typically adhere to more uniform, unaccompanied patterns. The album’s use of sound textures, ambient noises, and abrupt shifts in tone make it uniquely dynamic. For example, the layered horns on "tv off" and orchestral swells on "luther" create a cinematic listening experience.
Kendrick situates GNX as more than a hip-hop record—it becomes a genre-fluid exploration of music itself. The inclusion of guest artists from varying styles broadens the album’s appeal and further distances it from traditional hip-hop tropes. Throw Kendrick's versatile vocal delivery into the soup and you amplify its distinctiveness. He alternates between aggressive rapping, melodic hooks, and spoken-word-like moments.
GNX does more than refine the genre; it reimagines it. If not officially a new sub-genre, the album undoubtedly serves as a blueprint for a more expansive, boundary-pushing future for hip-hop. I don't pretend to understand half the album's lyrics. They are steeped in the West Coast hip-hop tradition that is, as I already said, really beyond my lifeworld. But I still appreciate the tunes and sheer artistry on display here.
Which song do I like best off GNX? Well, that simply happens to be which one I am listening to at the moment. They are all superb and, together, they make an incredible, complete, and most especially for me, powerful musical style that is clearly the new music highlight for 2024...and possibly beyond. We'll see. GNX is a rare, perfect album. I wouldn't change a thing. Kendrick Lamar is on fire and the blaze may very well be something not even he can control. Mustaaaaaard!
(Written with assistance from ChatGPT. Generally, I prefer Claude over ChatGPT but the latter LLM has a distinct advantage over Claude in that it can directly access and search the internet in its responses. Claude has a fixed database that was updated in July 2024 as of this post, which means it knows nothing about GNX.)
Some additional links:
Kendrick's War Against The Music Industry Explained.
A Track-by-Track Analysis of GNX.
"wiccad out murals" Reaction Compilation.
"tv off" Reaction Compilation.
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