Too boorish to fail: Music's brat king reigns again

The Age

2 days ago

Morgan Wallen, I'm the Problem
That Morgan Wallen, the biggest star in country music, if not music altogether, is by all evidence a dick – probably racist, arguably sexist, and definitely boorish – should not preclude a reasoned look at his music.
And if you are a caring type, you don't need to worry about any such grumbling affecting Wallen's sales, as the commitment from his fans suggests that, as with his spirit animal, DJ Trump, attaching yourself to Wallen after each criticism of him is an act of defiance and solidarity in the face of smart arses who think they're superior because they're not racist rednecks.
Which, funnily enough, Wallen tips a hat to as often as he can on this album, opening I Ain't Coming Back, helped by old mucker Post Malone, with 'I'm a redneck 'cause I drink beer and I dip Skoal', and in Come Back as a Redneck wishing for one of those nasty city folk who look down on him that 'when you die I hope you come back as a redneck/I hope it sticks on you like a hell-hot sun tattoo … maybe then you'll understand'.
There's plenty more where that came from, and that's without even getting to the Taylor Swift-alike title track, which opens the album. Though if you think that title may presage a confessional of faults, a mea culpa for deeds past and present … hahaha. Basically, it's a song which says to a recalcitrant lover, who may be standing in for all of his critics, hey, you knew what you were getting with me so why complain now? Plus, maybe it's you, not me: 'And it got me thinkin'/if I'm the problem, well, you might be the reason'.
Having dabbled with trap beats in the past, Wallen returns to first thoughts here. This is a regulation modern country album, short on beer-stompers but heavy on the ballads and midtempo tracks, like the sunset cruising I Got Better and hymnal Smile.
It's arranged with familiarity not adventure front of mind, R&B influences dusting things like the keyboards drenching TN and the light boy band-does-soul sway of Kiss Her in Front of You, but never leaving country/pop's main street where the likes of If You Were Mine (a power ballad hiding inside a white suit) and the duet with Tate McRae, What I Want, comfortably hold the centre of the road.