Labrinth Cosmic Opera Act 2 Album Review: Cosmic Opera: Act II is a clear step up from its predecessor in ambition and sonic polish, but Labrinth once again sabotages his own vision with weak, repetitive hooks and too much filler.
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Meanwhile, Labrinth returns with the second installment of his “Cosmic Opera” series. I reviewed the first act earlier this year and gave it a staggering 3/10. While the concept was potent enough to yield a masterpiece, Labrinth fell drastically short in his songwriting; the performance lacked the defining moments or infectious hooks necessary to justify a second listen. Now, in May 2026, Labrinth has officially unraveled. Fresh off a public divorce from the Euphoria machine and the announcement of his aptly titled “Undoing Tour,” he has returned with Act 2. I’ll admit, I wasn’t ready to step back into this world, especially since the first chapter felt like a missed shot at every turn.
Again, the production and orchestral arrangements here are undeniably opulent—way more polished than the blueprints we saw on Act 1. I honestly loved the ethereal orchestral elements; they felt cinematic in a way that touched my soul. He’s also pulling from electronic fusion, funk, and these minimalistic hip-hop beats, and I really respect him for taking such massive risks. I couldn’t find any major technical flaws in the production; it’s ambitious and almost perfectly executed. I’d definitely call the Act 2 sound more cohesive and imaginative, and it’s clearly a step up from the first project. Overall, the production is strong, but there’s still this layer of empty noise and some weirdly jarring instrumentation that made it hard for me to fully vibe with this “unraveling” era. It probably would’ve been better if Labrinth stayed rooted in that primary sonic arrangement instead of these weird, erratic transitions.
In my opinion, the songwriting in this album falls short once again. I previously gave Act 1 a harsh review for being bloated and lacking depth in its songwriting, and unfortunately, that weakness continues here. However, that doesn’t mean the entire songwriting is poor. In fact, Labrinth has produced many strong pieces, particularly his insightful social commentary on feelings of being an outcast and loneliness. There are numerous quotable lines, and I find the verses to be quite powerful. I love his critique of the system through complex storytelling, maybe a subtle reference to his exclusion from Euphoria. Lines such as “Rich man’s donkey trying to pay your fucking way / Ain’t no pity for the slave that put on his own chains,” stand out in particular. The verses are nearly flawless, without a doubt, but the hooks remain the main issue with the songwriting. There are no memorable hooks, and in nearly every track, Labrinth resorts to repetitive phrases like “bounce” and “Oh-no-oh-no,” which I found disappointing given the strength of the verses. The album could have been a solid masterpiece if the hooks were better, but sadly, Labrinth did not prioritize that aspect.
The album opens with the track “ANOINTED REPRODATE,” which is my favorite from the album so far. It gave me an instant, ethereal feeling with its undeniable orchestral arrangement. I felt as if I were being welcomed into heaven by the intro sound. Labrinth sings about being an outcast, which resonates with me since I also consider myself somewhat of an outcast. I can see myself playing this song repeatedly throughout the year.
However, the album becomes dull and strange in the second half. Despite this, I did enjoy the track “I Know It’s Love.” In this song, Labrinth is genuinely emotional and delivers a powerful narrative about accepting love, despite the pain it may bring. While I wouldn’t label it as a standout track on the album, it certainly makes a strong statement.
The closing track, “Very Good Boy,” once again touched my soul, much like the intro did. It is deliberately emotional, showcasing Labrinth’s vulnerability. After a whirlwind of strong and quirky moments, the album concludes with a profound emotional message.
On the other hand, “FOLLOW THE LEADER” has good lyrical content, as it features a sarcastic narrative. However, the song sounds robotic, which I find puzzling in an orchestral and emotional album like this. Despite the strong writing, I would still consider it a filler due to its sound.
Many other tracks on this album, such as “THE LIVING,” “SHUT YOUR DAMN 95.7892,” and “BOUNCY CASTLE & TRAMPOLINES,” boast impressive production and strong verses. Unfortunately, almost all of them lack a memorable hook, which I refer to as “missed opportunities.
“Ultimately, Cosmic Opera Act 2 isn’t a failure, but it definitely feels like another massive missed opportunity. While it’s undeniably a stronger, more realized project than the first act, it still can’t quite get out of its own way. On one hand, you have this incredibly polished, opulent production that touches your soul; on the other, you have jarring, “weird” transitions and empty noise that disrupt the flow just when things are getting good. The songwriting follows the same frustrating pattern—the verses and social commentary are actually top-tier and insightful, but they’re constantly being let down by weak, repetitive hooks that go nowhere. Aside from the ethereal highs of “ANOINTED REPROBATE” and the raw vulnerability of the closer, much of the tracklist just sits in that “mid” filler territory. Labrinth has all the ingredients for a masterpiece here, but until he prioritizes a memorable melody as much as a cinematic vibe, his opera is going to keep falling just short of the standing ovation it’s looking for.
“Anthony XO.Music: Stay Haunted”
[Rating: 5/10]
- Favorite Tracks: ANOINTED REPRODATE, I KNOW IT’S LOVE, VERY GOOD BOY
- Least Favorite Tracks: WHEN YOU WALK IN, FOLLOW THE LEADER
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