The problem isn’t in the lyrics or delivery of the track - in fact Azalea has improved in both her flow and story-telling in her time away from the mainstream. Unfortunately, even Juicy J isn’t enough of a force to save the unconvincing record. “Now he knocked out on the pillow” appears to be the result of her technique. Aided by the infamous Juicy J and his “Yeah, hoe” ad lib over synth heavy backdrops, Azalea recalls her talents in the bedroom. Tracks such as 'Freak Of The Week' clearly attempt to exude this zest. Most of this involves booty-popping and other careless activity, which in theory is a recipe for success. Throughout, the entertainer is clearly on a mission: primarily to display that she’s having fun, and in a different place to debut, ‘The New Classic’ Iggy Azalea. The confidence displayed on 'Clapback' follows audiences across ‘In My Defense’. Sonically, 'Clapback' exists in the realm of Migos, relaxed and layered, computer-created trap soundscapes guiding the entertainers way throughout.
Instead, it’s learned that she owns all of her masters and that the world should refer to her as “Iggy the savage”. After warning that she “finna clapback”, Azalea fails to offer much clarity on the situation other than braggadocious verses pertaining to her accumulation of money. Slightly before the thirty-second mark, listeners are hit with a reminder of the rappers constant scrutiny when it comes to her place in hip-hop and imitation of black people - which primarily stems from her rapping accent. A primary example of this misstep arrives early on into the set on 'Clapback'.
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