Big Sean Is Done Trying to Prove Himself

Big Sean is no longer holding onto things.

The Detroit rapper has experienced significant life changes in the four years since releasing his last album, Detroit 2. He and Jhené Aiko welcomed their first child, and he finally parted ways with GOOD Music. While juggling several music projects, he’s also been combating burnout and working on a book. Now, at 36, Sean is moving forward with a confidence that comes from deep introspection. His sixth studio album, Better Me Than You, reflects his journey of letting go of grudges.

“I’ve been treating [Better Me Than You] like a living, breathing entity because I decided to release it this week,” Big Sean told Complex, just days before the album’s release. “I was holding onto it for a while. I had a track with Nicki [Minaj] in the works and a song from the Twenty88 sequel that I considered adding to the album. But eventually, I just decided, ‘Let’s go.’ I’ve accumulated so much music, and I want to get into the habit of not being so attached to things.”

Better Me Than You shares some themes with Detroit 2, as both albums explore the challenges Sean has faced and the obstacles he’s overcome. However, the new album focuses on different hurdles and how he’s navigating them now. The central message of Better Me Than You is that sometimes you have to go through tough experiences to reach better ones. Tracks like “Boundaries” and “Apologize” delve into what Sean is willing to tolerate in his life, addressing deceitful friends and draining relationships. The album’s soulful, ‘90s-inspired beats, featuring samples like Jodeci’s “On Up,” are crafted by collaborators such as Hit-Boy and Alchemist.

While Sean is focused on maintaining his peace in the chaotic world of rap, he’s less concerned with proving himself to younger rap fans who may not be familiar with his earlier work. After releasing his latest single, “Yes,” some social media users joked that he was imitating Baby Keem. There’s also been ongoing speculation about Kendrick Lamar overshadowing his release dates. But Sean isn’t bothered by these comments, as he’s confident in the years of work he’s put in.

“There are always things you can find in my discography where I’m building on what I’ve already done,” he said. “But there’s no disrespect to anyone. And even if I was inspired by Baby Keem, I’d admit it. Music is about inspiration and making it your own, but that wasn’t the case this time.”

We spoke with Big Sean about his sixth studio album, Better Me Than You, his friendship with director James Gunn, and his impact on the rap industry.

This interview has been edited and condensed for clarity.

How have your emotions surrounding this album differed from previous ones?

Every project is unique. When I think back on each one, I was going through something completely different in my life. That’s the beauty of life—it’s constantly changing. When you realize our time here is limited, you appreciate all the ups and downs. This may be the only time we get to fully experience everything life throws at us. So, I embrace it all and see every situation as an opportunity, no matter what.

The title, Better Me Than You, instantly reminded me of “Lucky Me” from Detroit 2, where you sarcastically thank your challenges for making you stronger. Is there a connection between that song and the album title?

That’s interesting because “Lucky Me” is a play on the phrase “lucky you,” and it’s about embracing the difficulties that make you stronger. So, yeah, there is a connection. The concept of the album is similar in that Better Me Than You suggests that you’re the one who gets to go through life’s challenges and grow from them. Whether it’s breaking generational curses, moving your family out of tough situations, or handling a hectic schedule, you’re the one who’s equipped to do it. You don’t have to do it—you get to do it. That’s the mindset I have when I hold my son, and I hope he’ll approach life with the same understanding and pride.

How has fatherhood influenced this project?

There’s no manual for fatherhood that tells you, “You’ve got it.” It’s a continuous learning process. Fatherhood has been the most incredible and new experience of my life. It’s completely different from writing a book or making an album. It’s the best thing that’s ever happened to me.

Is the cover art meant to be aura photography? What’s the significance of the glow coming from your chest?

It wasn’t intended to be aura photography, but it’s in that vein. The glow from my chest represents the album’s themes, and the colors reflect the four elements—pressure, focus, clarity, and happiness. These elements are woven throughout the album, representing different styles of songs. There are intense tracks like “Yes,” moments of clarity, focused themes, and songs that radiate happiness.

One of my favorite lines from you is, “Late nights mixed with early days, it’ll probably be this way until the pearly gates” from “Holy Key.” That’s a tough lifestyle to maintain. How do you avoid burnout?

I’ve been burnt out lately because I’ve taken on so much—multiple music projects, my album, working with Alchemist, developing Twenty88 ideas, and writing a book that I’m passionate about. I’ve been overextending myself. Recently, I went live, and people saw me get emotional. I was happy, but I was also exhausted—I had just recovered from Covid-19, hadn’t slept, and decided to release the album that week. It was a lot. I think a lot of people can relate to dealing with the weight of life while working on something important. Burnout is something that’s hard to avoid when you’re on a mission, and I feel like I’m on one.

I didn’t expect to hear Dwayne Johnson on the album. How did you two become friends?

I’ve been fortunate to make some unexpected friendships. Another one is with [director] James Gunn. He was my neighbor for a while, and we connected over a shared interest in comics. We became friends, and he even invited me to visit the set while he’s filming Superman. I haven’t had the chance yet, but we stay in touch. James Gunn is my guy.

As for The Rock, we met at the Hotel Bel-Air one day. We just clicked, and our energy matched, so it turned into a friendship. The voicemail you hear on the album wasn’t originally for it—it was an actual voicemail he left me. When I added it to the song, he thought it fit perfectly. It felt like it was meant to be.

On “Million Pieces,” you mention that your dad had unfulfilled dreams of being an actor. Do you think that’s part of why you want to act in a superhero movie with The Rock, to live out his dream through you?

It’s interesting because my mom was actually into acting before my dad. She was doing commercials and acting in New York before moving to L.A. to pursue it further. But back in the ‘80s, opportunities for Black women in acting were limited. She got pregnant with me and moved back to Detroit. My dad later got interested in acting, especially after seeing me succeed in music. He’s been doing plays and even had a small role in a Sundance movie. When I recorded the song, I said, “It never happened,” referring to his acting dreams. But now, I’m proud of him for pursuing it as much as he can.

In “Holy Key,” you also say, “I hear a little bit of me in all your favorite rappers.” What do you think your influence has been on the rap game?

I don’t like to talk about my influence on the rap game because it can come across as seeking credit. But I do appreciate the impact I’ve had. People tell me when I see them, and it means a lot. From all sorts of rappers, I’ve heard, “You’re the GOAT” or “I got that from you.” It’s humbling. Sometimes, people even think I’m copying others when it’s actually my style from 10 or 11 years ago. I get that sometimes.

Did you see the memes where people said you were copying Baby Keem’s flow on “Yes”? What do you think about comments like that?

I don’t pay much attention to it. I remember once hearing kids at a basketball court playing “All Me,” where I say “Hoe shut the fuck up,” and one kid asked if I got that from Baby Keem. The kid was probably 14. My point is, I don’t overthink it. People can find elements in my discography where I’m building on what I’ve done before. But there’s no disrespect to anyone. If I was inspired by Baby Keem, I’d admit it. Music is about inspiration and making it your own, but that wasn’t the case this time. But if it were, I’d say so.

On “Wire Me,” you mention talking to Mayor Mike Duggan about getting 42 Dugg out of prison. What role did you play in his release?

I don’t know if I played a role in getting 42 Dugg out, but I was definitely talking to the mayor and city officials in Detroit, asking what we could do to help. I’m close with a lot of people in the city, and I wanted to see him free. Right before he got locked up, we were spending a lot of time together, talking about how he could get more involved with the sports teams in the city. I’m glad he made it out. I’m not saying I had anything to do with it, but it was definitely on my mind, and I brought it up.

You end “Wire Me” with “It ain’t a diss if this shit facts.” It feels like a purposeful way to close the album. Why did you choose to end it that way?

It’s not the final track on the album yet. Right now, conceptually, I’ve placed a song called “My Life” with Kaytranada as the last song. It concludes the album with a message of hope and light at the end of the tunnel. But after turning in the album, I thought about adding an alternate ending, like in movies. I wanted to go one step further and give the album an additional layer.

Who were you referring to when you said, “You’re seeing niggas getting drowned out because they can’t switch up the flows”?

When I wrote that line, it was more about the general idea that people can get bored with the same flow. I’ve seen it happen with a lot of artists.

Were you taking a shot at Lil Yachty with the “lil boat” line?

No, that wasn’t about [Lil Yachty]. Yachty is actually on the album, doing adlibs on “Yes.” I’m glad you asked—I wasn’t dissing him. It was just a clever double entendre. Yachty was in the studio with me while I was making the album, and he has a verse on “Yes.” I might add it later.

This album is so personal. Do you care about where it charts or how it sells in the first week?

I care, but at the same time, I’ve had multiple No. 1 albums. More importantly, I just want the people who support me to have new music. If I cared so much about numbers, I would have waited, added more features, and played the game differently. But I’m tired of that. I want to make music for my listeners, the people who truly vibe with me. There are a lot of people who love me, and a lot who don’t. Success for me is making the music, and everything else is a bonus. Of course, I’d love to be No. 1 and achieve great things, but I’m winning regardless.

When I look back at old footage of Drake or Travis Scott’s early days, I realize I was there too. Even back then, I wasn’t a new artist. I’ve been doing this for 16 years. At this point, I can’t base my success on charts anymore. I would if it were my first or second album, but this is my sixth. Who knows what will happen? But I’m glad I’m putting it out into the world. I don’t have a big radio single; I didn’t play it that way this time. I’m going off feeling.