What was one workman-like now seemed almost playful, even if it still came off as deadly serious. Over Madlib’s ever-shifting beats, Gibbs reminded us of the versatility of his rhythms and rhyme patterns. Piñata, Gibbs’s 2014 album with Madlib, changed that narrative a bit. So Baby Face Killa came out - strong and confident throughout - we head-nodded in appreciation, and then went waiting for him to raise the impossibly high bar he’d already set. His workman-like flow and consistency were things we started counting on and then, nonchalantly expecting. There was a moment there when Freddie Gibbs could have been taken for granted.
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