Speaking to Complex back in 2016 about the album, Miller explained that women and the universe were almost the same thing to him: “Treating the world how you’re supposed to treat a female is awesome. The more you make love to it and the less you try to f*** it, the better it all becomes for you. It’s a deeper experience with life.” The artwork for the album follows a similar sentiment – photographed by Miller’s frequent collaborator and brother, Miller McCormick – it showcases a woman, perhaps looking into a mirror, yet covered by the overlay of clouds, again hinting that women and the universe are one and the same. That said, the internet is not short on more theories and guesses for what the cover could mean, which in itself shows just how subjective art and love are.
The album’s exploration of love feels different to traditional rap/hip-hop records as it treats the women discussed with a somewhat spiritual reverence, void of any ego or sexual conquest. Even tracks like ‘Skin’, that lure you into thinking Miller is teetering on the edge of objectification, he brings you right back to the crux of the project, with lines like, “I open your legs and go straight for your heart”; here he stands firm in his desire to devote, rather than mistreat.
No choice on the project is a light one; it’s all meticulously planned, from the sultry jazz instruments on ‘Stay’ to the features from Ty Dolla $ign, Ariana Grande and others, each artist fits seamlessly and plays the part they need to on each track. The same can be said for various samples and backing vocals: the album is introduced with vocals from Grande and Chloe Clancy, Miller’s manager's daughter. It ends on ‘God Is Fair, Sexy Nasty’ with words from his grandmother discussing the love she holds for her husband. The use of these prominent women in Miller’s life serves as a reminder that the basis of this project would not be possible without them; it all begins and ends with them.
One track that remains on heavy rotation for fans of the project is ‘Cinderella’, confirmed by Grande herself to be about her. It’s not just that which had listeners hooked; the track itself struck many as a beautiful rap love song. The mix of Miller on the verses and Ty Dolla $ign on the chorus adds so much texture to the song, along with an infectious melody. Once again, exploring love on a deeper level, especially in the latter half of the song when Miller offers a singing verse with the words, “well wherever you came from, wherever you’re going, I promise I'm not far behind / so don’t you dare throw this away”, the raw, hazy vocal delivery here hits you straight in the gut; it makes you believe he’s in love, almost forcing you to feel it too.
Ten years on, this album resonates more than ever. With so much uncertainty and animosity permeating the air, the project teaches a valuable lesson – that love in all its forms is a beautiful thing – and doing what Miller does so well in this project, which is showcasing the benefits of surrendering to it, is fulfilling, regardless of any apprehension. It brings a beautiful phrase to mind: “build a longer table, not a higher fence”.
Jessica Sansoa
Image: ‘The Divine Feminine’ Official Album Cover