On ‘WHACK’S MUSEUM,’ Tierra Whack enshrines herself among Philly hip-hop legends

“They call me Whack, luckily, it’s my government, one of a kind, your label been trying to double it,” is a hell of a way to start an record. Out the gates, Tierra Whack over Conductor Williams’ production shows a supreme confidence with lines like “I’m the GOAT, show me who I need to go at, shouldn’t have to say it, you should already know that.” Ability is something no one has questioned about the North Philly native. Her last full project, WORLD WIDE WHACK, was a phenomenal exploration of her abilities in song creation and imagination. Drawing many comparisons to artists like Missy Elliot and Bjork for her experimentation, her latest offering, WHACK’S MUSEUM, while maybe not as diverse sonically, may in fact be the mixtape that defines her ability. 

On the first single, “WAX PAPER,” another banger by Conductor Williams, Whack effortlessly floats on eerie production that would sound right at home on a Griselda record. The line “wonder why I don’t rap much, ‘Cause when I rap, someone is bound to get wrapped up” is the perfect encapsulation for the project. Whack didn’t come to play. Since she went by Dizzle Dizz in her teens, appearing on video mixtapes, her relentless bars were apparent. In the times since then and her growth inside the industry, she’s been able to push boundaries for a rapper, but on songs such as “Brazilian Wax,” she lets everyone know exactly who she is over a sample from Tyler, the Creator.

Tierra’s inventiveness still doesn’t lack on WHACK’S MUSEUM. It features creative plays on “Whack” and “wax” in song titles, numerous deliveries sped up and slowed down, multiple vocal tones, and even songs’ actual tempos in playback slowed down and sped up. She is truly an artist in every sense of the word. Standout tracks include “QUEEN’S CROWN,” where Philadelphia legend and former head of Mural Arts Jane Golden gets a shoutout; “SIREN” with a triplet flow that breaks into almost a plea in the chorus; and the boom bap of “GODDA,” produced by Swaggyono. 

Over the soulful backdrop again by Williams, “TWO FIFTEEN” may be the most lyrically dense track. “The subtle art of not giving a f**k, you know you earned your spot, they just wish it was luck, first it didn’t stick, but it eventually stuck, and all those fake I knew you was, was just never enough.” Though it feels like she is talking to someone else, it could easily be her subconscious speaking to herself. Whack’s interpersonal conflict with being “just a rapper” is apparent on the mixtape. She often mentions people complaining she should rap more, but she’s often declared rap bores her: “I treat rap like a hobby.” 

Part of me very much hopes this isn’t the last full rap project we get from Whack, because frankly she’s far from it. WHACK’S MUSEUM is a testament to her ability, her wordplay, and what she can do when she just raps. It feels like a tribute in many ways to Philly’s storied history in rap. As she raps on “BRAZILIAN WAX”: “I’m top five, next to Meek and Beanie Sigel,” and after multiple playthroughs of this mixtape, I honestly can’t deny that.

Even if we don’t get another release as rap-focused as this mixtape, on merit alone she’s never leaving the discussion as one of the best rappers from Philly. I have a feeling she’ll give us more lyrical mastery in the future; she’s truly just too good not to. WHACK’S MUSEUM is on par with the best releases this year, regardless of genre, and if it’s your first real taste of her talent, I promise it’s a meal you’ll only want more of.