"Bigfoot" is a song by American rapper Lupe Fiasco, the sixth track from his ninth studio album, Samurai (2024). An introspective song, the narrator shows doubt as they witness the dark side of the music industry. Both Fiasco and Winehouse had their share of downsides in their careers, where Fiasco disliked the business side of music and Winehouse's talent was largely overshadowed by her substance use disorder.
Analysis[]
Since Samurai is named as one of Fiasco's most personal albums, this particular track laments over struggles with fame and the music industry. The Chicago rapper has faced much adversity in his career, including his battle with Atlantic Records, pressure to put out massive hit singles, and sell out venues. Since artists are frequently measured by numbers, it affects the state of the individual if the crowd fades or starts showing opposition. Fiasco has previously wondered to what extent he must keep going, at the cost of his own mental health. He didn't get a chance to properly mourn for his lost loved ones during Lupe Fiasco's The Cool as he had to do shows;[1] experienced suicidal ideation during Lasers;[2] and fans started to leave once dissatisfied with the album.
In the beginning of his intro, Fiasco speaks with a Jamaican accent, similar to his delivery in "Gold vs. the Right Things to Do". This gives recognition to his African roots, letting his narration shine through. In the first verse he establishes the setting of performing on stage to what he's personally thinking. He uses energy to hype the audience, and feels it's his duty to uplift and do what he loves, even with the negativity around him. Sometimes he has no desire to be in the spotlight, wishing he was wearing a mask.
The second verse wonders how far it takes to break, and compares this to Andre Dawson, a former professional basketball player, who competed even while injured. The accumulated pain is oft trivialized, and in order to cope, he has to look at the good outweighing the bad. He adds that he 'never signed up to be a lawyer,' where he has no desire to be part of the business side, and just wants to sing. Because he's a perfectionist ('OCD and paranoia'), his work may be taxing on him. Since these are private thoughts, he realizes he's expressing them in the song.
In the outro, he states, 'If I speak, don't think it's chorus […] bet you hooked just like a chorus.' Choruses are typically used in songs to be catchy and memorable, since they're repeated throughout. He implies that whenever he "speaks," it goes over people's heads since some listeners don't pay attention to the lyrics. He almost challenges this by saying in the chorus the listener "don' know" what goes on in the artist's mind or behind the scenes to put on a show.
Personnel[]
- Abel Garabaldi – mixer
- Anthony "APB" Perkin – co-producer, keyboards
- Joey Fernandez – masterer
- Maxwell Steger – assistant mixer
- Nicolas Isaiah – co-producer, production arranger, drum programmer, synths lead
- Rudolph "Soundtrakk" Lopez – producer, drum programmer, sampler, keyboards, production arranger
- Trumaine Jordan – co-producer, synth bass, synth lead
- Wasalu "Lupe Fiasco" Jaco – lead artist, vocals, writer
Gallery[]
Cultural references[]
- King of New York is a 1990 neo-noir crime film starring Christopher Walken.
- Daft Punk were a French electronic music duo formed by Thomas Bangalter and Guy-Manuel de Homem-Christo. They wore masks to hide their faces initially out of shyness, but soon grew as part of their image. Additionally, they didn't want to become famous as individuals.
- Andre Dawson (nicknamed "Awesome Dawson") is an American former professional baseball player known for his determination and perseverance, often playing through injuries and setbacks.
- 'Toro' is translated from Spanish to 'bull.'
Lyrics[]
[Intro]
Creations, step up, stomp with the Bigfoot
Mm, yo-yo, yo, yo, yo, yo, yo-yo
Yo-yo, yo, yo, yo, ah
We got broken hearts, we're from number-nine two
We got love, all while, and it's true
[Verse 1]
Uh, yeah
The colored-stage, rage-covering from the gun
Number-to-number fades made confrontin' outta cumbersome
Lips lift water in bottle on up to them
Front row the only row, the show sold nothin'
Then second thoughts spell intimacy as a plus
Plus, energy conducts, if I truly put my all in
The responsibility feels just like a callin'
The rest of the crowd must be stallin' before they fall in
Or maybe this all them and there's no more autumn
Try not to worry 'bout the walkings and focus on the waltzin'
If the King of New York actually enters, that'd be awesome
But it's better not to get lost inside in a song talking
Or out of songs thoughts that I have
Or second-guessing actions up on stage, in case they laugh
These are the times that I wish I had a mask like I'm Daft
Waiting on my break with no signatures on my cast-cast-cast
[Chorus]
You don' know (You don' know)
Concert creations step 'em by one, two
You don' know (You don' know)
Concert creations step 'em by one, two
[Verse 2]
Uh, yeah, uh
What does a break take? When does it take place?
Often in space and time, important to have a portion
Is it a safe space to make mates all at once or in installments?
Is it a base rate? Devalue their involvement, is it evolving?
Is there a standard to differentiate between the offerings?
Or am I just church steps to an orphan and I take whatever they tossin'?
Or be more like Andre Dawson when they obfuscate the losses?
Gloss over the cautions
Overlook the awful and emphasize the gains and they underplay the pa-a-a-a-ain
But I never signed up to be a lawyer
I just came to spread the joy of when you sing, sing, sing, sing, sing
But that'd be the same thing that'd destroy ya if you don't look over like a voyeur
With extra OCD and paranoia, every single piece and part
A piece for hearts to rest, a rest in peace to art
And, normally, these things that you would keep inside your head
(But you realized you were singin' this instead)
[Chorus]
You don' know (You don' know)
Concert creations step 'em by one, two
You don' know (You don' know)
Concert creations step 'em by one, two
[Outro]
And for the encore, on towards, entourage
On tour, award show, wardrobe, war for more
Attention, mortal toro of the tourist, taunting forces too enormous
For a single portrait to successfully record it
Dun, dun-dun
Dun, dun-dun
Dun, dun-dun
And for the encore, on towards, entourage
On tour, award show, wardrobe, war for more
Attention, mortal toro of the tourist, taunting forces too enormous
For a single portrait to successfully record it
Dun, dun-dun, we could be more supportive
Dun, dun-dun, if I speak, don't think it's chorus
Dun, dun-dun, bet you hooked just like a chorus
Dun, dun-dun, dun
References[]
- ↑ Rodriguez, Jayson (September 26, 2007). "Lupe Fiasco's 'Cool' World: Tragedy Meets 'Mad Poppy Beats'". MTV News.
- ↑ Batey, Angus (March 3, 2011). "Lupe Fiasco: 'I Have the Right to Speak Out'". The Guardian.