I find myself torn as I listen to André 3000's latest album.

André 3000 released the album New Blue Sun, a tribal flute album that varied greatly from his previous work as one half of Outkast. I am of two minds about this project. I listened to the entire 8 track enterprise, and it exacerbated my inner conflict. One half of me is thinking as a fan that wants more content, while the other half is mired in humanism and empathy. I'll try not to be too spoiled as I continue this piece.

Outkast doesn't owe us another album. André is most certainly within his rights to pursue any artistry that calls to him. He put in the work to learn an instrument, and he wants to share it with the world. The music industry owes him this grace. He is not indentured to rap. His contributions to rap have already placed him on a list of elites.

Consider what happened with Black Star. Talib Kweli and Yasiin Bey gave us a classic in 1998. An unquestionable classic. Their second album was demanded by fans across the industry. By the time Kweli and Dante got together for their reunion, the industry had shifted so much that they felt compelled to paywall the project. Still, the fandom did not appreciate the effort. They did not owe us a second album. Even without other classics like Eardrum and The New Danger, Mos Def & Talib Kweli are Black Star was enough. The same goes for André Benjamin's catalog.

This isn't the entire story, though.

Between Southernplayalisticadillacmuzik, ATLiens, and Aquemini, Outkast put a stamp on southern rap. The duo also made very deep commentaries on culture, life, and relationships, all while maintaining their distinct (and unique) styles. Speakerboxxx/The Love Below (I'm skipping a few deliberately here) was a landmark double album. Outkast, and by composition, André Benjamin, have influence. They have the power to guide conversations. Their ability to invoke social justice is top tier. Their opportunity to educate a new generation is tangible. They also have an inherent talent for influencing the landscape of their genre.

Listen to "Ms. Jackson" again. Think of how it describes how co-parenting can become toxic if not approached in a healthy way. Absorb how these social conditions can affect generations forever. Forever ever… forever ever.

Now look at "B.O.B." The fast-paced Bombs over Baghdad was not only hijacked as a pro-Iraq war anthem, it actually painted images of the Atlanta ghetto, juxtaposed with the denial of social ills. This didn't specifically highlight any event, but painted a tapestry of abstract experiences. The weatherman line gives me chills to this day. And it's a great workout song.

Finally, we cannot forget about "Hey Ya." How many quotables can you pack into one song? It took a long time for people to smash past the catchy tune and move to the meaning behind the lyrics. The song described a breakup, then asked us to "shake it like a Polaroid picture." Then the tempo conversation started. This song is pure brilliance with an impeccable message.

The point is, André has power. Even in his hiatus, the possibility of his return to the microphone has been enough to keep the industry salivating. So you can see why it's disappointing to grab a new album with a sticker on it that says, "Warning: No Bars."

There's another angle here as well. In an interview leading up to the album release, André mentioned that he had "nothing to talk about," referencing his age and cheekily mentioning the types of activities that people in his age range do on a daily basis. I find this response terribly lacking. Every emcee that cares about their community, especially in cities like Atlanta, has something to talk about. Every. Single. One. If the past 7 to 8 years have taught us anything, it's that silence is not really an option to those that have a platform. There are so many things at stake in society. There are so many movements that need support. Marginalized communities are increasingly under siege in some way or another. The political divide in the country is turning into a bottomless chasm. Globally, regimes are engaged in more and more wars. Local politics are in shambles. I don't know anything about André's headspace, so I would rather not ascribe any level of apathy to him. But to say that there is nothing to talk about is wild.

Even that says nothing about the need for a voice like André's in the rap game overall. The industry could use as many true emcees active as possible. It can ill afford to cede ground to the new crop of corporate generated "rappers" that receive distribution simply to influence the landscape of hip-hop. Bar crafters like J. Cole, Royce da 5'9", and Joyner Lucas would welcome another skilled emcee among their ranks. A rap album from three stacks would reach a whole new audience that is poised to appreciate it.

Then, there's the inevitable GOAT conversation. To be fair, this has morphed into a series of "top ten" and "top 20" lists, but I think that bolsters my point. I would assume that André wants to cement his place on all of these lists. To date, he has my vote for any top ten list. But that can change. I have no idea what a new crop of spitters will add to the mix. I am 100% convinced that not only does André still have what it takes, he is more than able to provide the game with another classic.

That said, I'm not really sure if I can take a full position on what the rest of André 3000's career should look like. Whether he ever writes or records another rhyme or not, the truth is that I would prefer not to get any more flute albums from an all-time great. Even if he has every right to record one.