In the landscape of contemporary hip-hop, where originality is prized yet frequently questioned, Big Sean recently found himself at the center of a controversy regarding his lyrical style on his newly released album, Better Me Than You. Following the debut of the track “Yes,” some critics and fans speculated that Sean’s flow bore a striking resemblance to that of Baby Keem and, by extension, Kendrick Lamar. Such accusations of “biting”—a term used to denote unoriginality in artistic expression—have become increasingly common in an era where artists are expected to differentiate themselves while responding to the influences around them. However, in a recent interview with XXL, Big Sean firmly rebuffed these assertions, emphasizing his long-standing commitment to innovation in his craft.
In the interview, Sean articulated the concept behind Better Me Than You, conveying a message of resilience and self-acceptance. He remarked on the universal struggles individuals face and encouraged listeners to recognize their inherent strength in overcoming adversity. Yet, amidst this profound exploration of personal growth and empowerment, Sean also addressed the controversy surrounding his style. He noted that he has utilized similar flows since as early as 2014, asserting that his approach is an organic expression of his artistry rather than an imitation of others.
Sean’s defense carries weight when considering his trajectory in hip-hop. His evolution as an artist has involved constant experimentation with his sound and lyrical delivery. From his debut mixtape, Finally Famous, to more recent projects, he has demonstrated a willingness to push boundaries, infusing his work with influences ranging from jazz to trap. The accusation of biting, while serious, often overlooks an artist’s ability to draw inspiration from their peers while cultivating their unique voice.
The insistence that Sean is mimicking Baby Keem’s style also raises questions about the broader notion of originality in hip-hop. The genre has long been characterized by the intertextuality of flows, beats, and lyrical themes. Artists frequently pay homage to their influences, creating a tapestry of sounds that both honor and innovate. Sean’s familiarity with the flows associated with other artists, including Kendrick Lamar and Baby Keem, does not inherently constitute theft; rather, it reflects the fluidity of hip-hop culture, where artists build upon each other’s work.
Furthermore, Sean’s comment referencing his past work exemplifies the thread of continuity that runs throughout his discography. His ability to recall specific instances where he has utilized similar flows underscores the notion that his artistry is a culmination of various influences rather than a mere copy of another artist’s style. By drawing on his longstanding connection to these techniques, Sean positions himself as a vanguard of creative expression rather than a mere imitator.
Ultimately, the scrutiny Big Sean faces encapsulates a broader challenge within the hip-hop community: the fine line between inspiration and imitation. He adeptly navigates this terrain by reaffirming his individual journey and creative process, inviting listeners to appreciate the depth of his artistic evolution. In doing so, he reminds us that the essence of hip-hop lies not just in originality, but in the conversation between artists—an ongoing exchange of ideas, styles, and experiences that perpetuates the genre’s vibrancy. Thus, while accusations of biting may arise in the ever-evolving dialogue of hip-hop, it is crucial to recognize the artistry and intention behind each artist’s unique contribution. Big Sean remains, undeniably, a key player in this ongoing narrative, advocating for self-love and authenticity through the lens of his own experiences.
