John Bergstrom: “Downtown” was great but this smacks of desperation. “Get on the floor / Get on the / Get on the floor”, the sample commands, and even though you know it’s unstylish to dance to Macklemore, it’s a command that’s hard to resist.
#Growing up macklemore instrumental update#
But “Dance Off” shows that perhaps we’ve all been too harsh: it’s a campy, pointedly comedic, alt-hop “Thriller” update that interpolates a brilliant, hoarse-voiced hype-man vocal sample. Accused of flagrant appropriation, uncouth commercialism, and straightforward poor musicianship, they suffered a fate in rap culture akin to what happened to Nickelback in rock - namely, it became fashionable, mainstream taste, to dislike them. Pryor Stroud: Shortly after surging into the spotlight with 2012’s hook-laden, indie-rap darling The Heist, Macklemore and his brother-in-arms producer Ryan Lewis became the inadvertent bêtes noires of hip-hop. In a sense, “Dance Off” is probably meant to be Macklemore’s sequel to “And We Danced”, but instead turned out to be one of the worst tracks that the Seattle rapper has ever made. Also, the instrumental is just as guady and uneasy to look at as well. His lines aren’t funny, especially as he talks about a grandma grabbing his “banana”, though he thinks he is. Idris Elba’s feature is awkward, and Macklemore turns up the cringe as he enters the verse and chorus. Emmanuel Elone: It’s an enigma that the same Macklemore who made “Same Love”, “Wings” and “White Priviledge II” could make such banal, in-bad-taste dancehall hip-hop.
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