With ‘STAR LINE,’ one of the most popular novelty rap acts of the 2010s, Chance the Rapper, makes a delayed but gratifying entry into the 2020s music scene, with many of his fellow Chicagoans helping him out along the way.

Stream: ‘STAR LINE’ – Chance the Rapper

He’s still plenty young at age 32, but Chance the Rapper seems like a seasoned old veteran by rap music standards, given that it’s been ages since he was first fighting for success by however many free mixtapes and Spring Fling shows it took back in the early 2010s. It all worked out well for Chance in the end, given that he obtained plenty of name recognition during that period and then went on to produce his finest work to date, Coloring Book, in 2016.

In the years that followed that formidable peak, though, Chancelor Bennett of Chicago took a handful of personal and creative hits. His debut LP, 2019’s The Big Day, received lukewarm critical reception (although this critic here was willing to cut him some slack), and his own “big day” wound up going the same way that nearly half of those “big days” sadly still do, with Bennett and former partner Kristen Corley finalizing their divorce earlier this year.

Star Line - Chance the Rapper — STAR LINE – Chance the Rapper

All of this has surely amounted to a rough ride for Chance, and helps to explain why he’s had very limited musical productivity throughout the 2020s decade thus far. But with his hiatus having now formally concluded with the release of his second studio album, STAR LINE, last week, Chance appears ready to brush his troubles aside and reclaim the musical prowess he achieved back when his Chicago homeboy, Obama, was still in office.

“Got an F-minus, but that’s behind us,” Chance raps in the album’s early moments. It’s time to “just enjoy the ride, we gon’ be alright.” In many key ways, Star Line proves to be the enjoyable and entertaining hour-long ride that its author promises it to be from the offset. It’s got plenty of lively and playful emceeing on Chance’s part, along with some fiery collaborations from a solid range of hip-hop heavyweights. Plus, as with many of his past projects, Chance makes the most of his Chicago music connections and grants Star Line some distinct local flavoring in the process.

The aforementioned “Ride” sets all of those standards quite well. Do or Die, who hail from a few miles northwest of Chance in East Garfield Park, prove to be a sparky team-up with their Southside companion. Then comes “Drapteomania,” one of the most energetic tracks on the album, with local drill rapper BabyChiefDoIt delivering some filthy, fantastic verses coupled by Chance’s simple, yet effective directive in the chorus: “Go crazy, go crazy, go crazy!” The list of Chicago-based artists on Star Line carries on steadily from there: BJ The Chicago Kid, Vic Mensa, Jamila Woods, and even Common, whose quarter-century-old jam “The Light” is interpolated by BJ in glorious style on “Speed of Light.”

Those hailing from outside the Windy City make valuable contributions as well: Joey Bada$$ of Brooklyn contributes meaningfully to the comeback theme of the album on “The Highs & The Lows” (“I was feelin’ lifeless, I had to cut my vices… Now, the feelin’ that I feel is priceless”). Jay Electronica of New Orleans helps the album drift towards a gentle conclusion on “Just A Drop,” right before Philadelphia’s Jazmine Sullivan seals the deal with her graceful singing on the chorus of the final track, “Speed of Love.” Her lyrics, “So when will real love come and find me? Where is the love? Where the love at?”, are especially stirring, given that the guy sharing the mic with her is a recently divorced man.

**Even without any guest artists around, Chance holds his ground on the numerous solo tracks on Star Line.**

“Burn Ya Block” is an invigorating look into the mentality of the rioters across America in recent years (“Hands on ya head, on the curb, bite down. Fire in your eyes, and it burn bright brown”). Conversely, “Letters” looks deeper into U.S. history, channeling the pain that the memory of the 16th Street Church still generates over 50 years later (“Don’t you forget about them four little girls killed in the church while they played in their nursery. Four years ago was their anniversary”).

Chance’s emcee work is stellar most of the part, and even when he resorts to his sometimes-decried singing, he still manages to make tender and emotional numbers out of songs like “Space & Time.” He’s also serviced by mostly well-conceived soulful beats, most of them the product of his newly-launched creative partnership with producer DexLvl.

Chance the Rapper & Brandon Breaux © Keeley Parenteau

Star Line has some flaws to be pointed out. Despite being leaner than The Big Day was, it’s still 67 minutes long and could arguably still use some further trimming. It does have its sluggish moments and questionable lyrics, as many of his past records do.

But all considered, does Star Line qualify as a “return to form” for the long-absent Chance the Rapper? It’s safe to say, “Yes, indeed.” After years of having been sidelined by personal matters, it’s greatly rewarding to have Chance back to his immensely likable, music-making old self, a persona he exhibits in stellar fashion all across Star Line.

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