Versatile Kirk Knight emerges from rap obscurity to drop impressive first album

20-year-old Pro Era member adapts voice to variety of instrumentals, themes in ‘Late Knight Special’

by Michael Huizenga

October 29, 2015

Album art courtesy of Pro Era /

Kirk Knight.

Joey Bada$$, have a seat. There’s a new Pro headed for the spotlight, and his name is Kirk Knight.

The 20-year-old Pro Era member from Flatbush, New York gave himself a name as a producer for the rap collective. But, now he’s showcased his talents as a rapper in his album, Late Knight Special.

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Considering the project is Knight’s first, it’s hard not to be impressed; an album of this quality would be expected from a veteran.

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The subject matter (along with the mood of the instrumentals) changes from song to song, as does Knight’s style of rapping. He sings to an unnamed girl that he “couldn’t one-night-stand [their relationship]” on “Scorpio,” details running from the cops on “Knight Time” and begs God to let him into heaven on “Heaven Is For Real.”

He matches the instrumentals with fitting flow, while at the same time managing to deliver emotion that would make DMX cry.

But, possibly one of the most impressive qualities of the album is Knight’s ability to change his voice. One might mistake him for Joey Bada$$ on “5 Minutes,” or for Big Sean on “I Know.” It’s not as much a style theft as a paying of homage to the rappers; they have unique voices that just so happen to match unique instrumentals, and Knight has chosen to showcase them accordingly.

Nothing on the album, including the refreshingly short length, feels rushed or forced. Knight runs out of breath at times, such as the end of his “The Future” verses, but one could argue it has more to do with representing the meaning in the words he raps rather than a lack of oxygen. He has planned out exactly how he wants each line to sound, and executes them to perfection; for example, the beginning of “Scorpio” features a beautiful transition from crisp, decisive word endings to slurs.

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Another positive aspect of the album is the features. Joey Bada$$, Mick Jenkins and NoNameGypsy (to name a few) play vital roles in the progression of the songs they’re featured in, but they don’t overpower Knight. Instead, Knight alters his sound ever so slightly in those songs to match them.

It is a crime that Late Knight Special hasn’t yet received the attention it deserves. A young, lesser known rapper/producer from Pro Era has put out an album worthy of praise, and he’s done it on his first try. Whether or not this album ever hits the mainstream, Kirk Knight should hold his head high as he clearly has a bright future in rap.