With a pair of chart-topping Migos albums and a handful of Top Ten singles as a solo artist, Quavo seized the moment and became the first Migos member to release an official album with Quavo Huncho. Following 2017's collaboration with Travis Scott, Huncho Jack, Jack Huncho, Quavo Huncho finds the titular rapper roaming familiar pop-friendly trap territory with a crew of high-profile guests such as Drake, Saweetie, and Lil Baby, with some delivering more effective use of their time than others. Layered with sufficiently ominous trap beats provided by Cubeatz, Murda Beatz, Buddah Bless, and more, there aren't many sonic surprises here. Of the highlights, 21 Savage ("Pass Out") rides a hypnotic Buddah Bless beat while Travis Scott elevates the mood with "Rerun," a rousing selection from those Huncho Jack sessions. Migos brethren Takeoff and Offset join Quavo for "Keep That Shit" and "Fuck 12," respectively. The latter entry makes powerful use of a Malcolm X recording and audio footage from a Ferguson "Hands up, don't shoot" chant, shining light on racial identity issues and police brutality in America. Elsewhere, the poppiest entries energize the superior second half. Pharrell Williams delivers a typically electrifying track, "Go All the Way," while Fifth Harmony's Normani and Nigerian singer Davido bring Quavo to the dancehall with the lively "Swing." The most surprising guest is unveiled halfway through, as Madonna gifts Quavo with a detached, Auto-Tuned performance on the seductive "Champagne Rose," which also features Cardi B. Despite these standouts, Quavo Huncho struggles to maintain momentum. Like many contemporaries, the album is overly bloated -- designed for high streaming counts -- and could use some trimming. With a mostly forgettable first half and a strong second half, sharper attention to editing could have made this a stronger album. Otherwise, Quavo Huncho is enjoyable but unmemorable. It's not quite a Migos album, but it comes close enough to tide fans over until album number four.
AllMusic Review by Neil Z. Yeung