Since the world was introduced to Flo Rida, he has been a club sensation. Catapulted from the massive “Right Round” he became a club crossover star. While R.O.O.T.S attempted to solidify a more Hip Hop audience, Only One Flo reverts back to Mail on Sunday being that its main purpose is to get you on the floor mindlessly. Filled with Euro (Lady Gaga and Black Eyed Peas) inspired production, the EP has the opportunity to strengthen his foothold in Electronica themed clubs that are blowing up.
The album clocks in with eight tracks and from the first second of “On and On” to the last second of “Why You Up Here,” the music inspires body movement, be it voluntary or involuntarily. Euro-synth heavy with thumping basslines, the album challenges your ability to play the wall at the club. You can’t help nod your head to catchy production and hooks, even if several of them are a bit cheesy.
It’s clear that Flo Rida has a good understanding of his strengths. The album almost entirely features his trademark flow rapping about content that never ventures outside of the club and the ladies within it. The music is by no means revolutionary but one can’t deny that he delivers a polished product. The Akon-assisted “Who Dat Girl” sees a high energy hook, only for Flo Rida to sit in the cut perfectly during his verses. Tracks like “Turn Around (5,4,3,2,1)” have hooks that you can practically hear being chanted. “Respirator” sounds like something straight out of a rave. Flo’s ability to cross this boundary is double-edged sword. His style is rooted in his flow’s ability to ride any beat, but many will feel the content is a blatant attempt for sales that compromises his artistic integrity. Regardless of your take, the content is obviously repetitive but in a culture of cheap tricks to get spins, at least Flo goes about it the right way.
Flo Rida’s same strength ends up being the projects biggest weakness. The only thing that saves the project from giving you an energy drink hangover is its brevity. The high-energy production and one dimensional flow, gets incredibly repetitive. Tracks like “21” sound like they would be played at a Jersey shore birthday celebration rather than in the car of any Hip Hop head. “Come with Me” sees 2Pac’s “Hail Mary” hook reinterpreted in a less than flattering way. While the albums finale, a posse cut entitled “Why You Up In Here” sounds like a parody of the albums first seven cuts. Even the occasions when Flo Rida has a lyrical moment, it’s quickly forgotten because he tends to recycle concepts, punch lines and content so often throughout the project.
One would imagine that Only One Flo is a conscious decision to embrace the club fans that have so readily embraced him. The finished project feels more Snooki than Snoop Dogg, it will have more people fist pumping than attempting to Dougie but it will get spins. In a business where artists come and go with quickness, Flo has managed to remain relevant. Only One Flo will only strengthen Flo’s relevance, but it will never be mistaken for a solid piece of art. The EP gets people on its feet and moving but its title Only One Flo is indicative of what the project is truly about. The artist never ventures outside of the box that he has lived since he exploded on the scene with “Right Round.”