I remember when Hey Ya! dropped. It wasn’t just a big single, it was a cultural phenomenon. It was completely unique and seemed to come out of nowhere. Everyone was shaking Polaroids, asking people to lend them some sugar, declaring themselves as neighbours.

I was fully swept up in it. I absolutely loved it. I’d play it at parties, quote it constantly, and I even created a medley on guitar that started with Hotel Yorba and would segue into an acoustic version of Hey Ya! It was the ultimate crowd pleaser (“crowd” being the 2-5 people actually listening to me play).

But underneath all the pure joy of the song, is something really dark. Hey Ya! is one of the most upbeat songs ever written about how love isn’t permanent. André literally tells us what he’s doing, and we somehow don’t notice, maybe because we don’t want to – I guess that was his point: “Y’all don’t want to hear me, you just want to dance”. It’s a brutally honest confession about love falling apart, people staying together for the wrong reasons, and how we avoid confronting hard truths. Hiding the message in the lyrics of a song that was so catchy and energetic, and playing on the trope of romance and love in pop music, is genius, and living through that hype while slowly realising what the song was really saying felt like André pulled off the ultimate magic trick.

That track set the tone for The Love Below, André 3000’s half of the double album: a psychedelic, jazzy, funky, 70s-soaked, musical-theatre fever dream where he leans fully into eccentricity. It barely resembles hip hop at all. It’s lush with Prince-like falsetto, spoken-word interludes, theatrical storytelling, jazz melodies, and basslines full of stank. And it’s FILTHY! It was bold, strange, theatrical, and completely unexpected for an Outkast album.

Back when the album came out, I used to skip Speakerboxxx and go straight to André’s side. Big Boi’s half felt like the “other one”, and I was there for André. But, Speakerboxxx is a really strong album too. It’s dense, funky, and full of intricate, complex and layered melodies. Big Boi pulls in Funkadelic-style textures, and interesting samples and blends them perfectly with hip-hop. It’s more in line with the classic Outkast sound, sure, but it’s still complex and great. It never stood a chance, when sitting next to André’s horny cosmic jazz opera. It was always going to be overshadowed.

It was a really strange move to release separate albums in a double, and it was another angle of something unique and interesting that they were doing creatively. For me, Speakerboxxx/The Love Below will always be tied to that moment when Hey Ya! was everywhere, blaring from radios, at parties, on TV, while quietly saying something heartbreaking that most of us didn’t notice. We just wanted to shake polaroid pictures and borrow sugar.