Quite aside from its lyrical content there’s something about pop-country I absolutely loathe, and that’s the actual production design.
The way the soundscape is laid out is atrocious. Heavily scooped mids on everything but the vocals, which are boosted, and set about 5-6db louder than everything else. Drums tend to be very soft, almost 70s soft, everything has a glassy sheen to it, and it always sounds like someone’s brickwalled each track before the even got to the mixing stage.
It’s an aesthetic shared with contemporary Christian music, and while I can’t say for certain that’s because there’s a huge overlap between the two industries, it seems likely.
Anyway, I fucking hate it and it feels like someone’s driving nails into my ears.
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Tyler Hubbard - Self-titled
Florida Georgia Line is most often to be considered the worst thing to happen to country music within the last decade, and you could make an argument as to why -- they started the “bro-country” trend, where these artists talk about trucks, girls, beer, and the same types of things, all the while incorporating pop and hip-hop tropes into country. A lot of people hate it, and for good reason. It’s really bad, misogynistic, boring, and uninspired. FGL was always at the forefront of it, especially with their 2012 hit “Cruise,” which admittedly is very catchy. They broke up in 2021, but they didn’t officially call it quits until last year. It was very quiet, but the inevitable finally came. It also makes sense because both members, Tyler Hubbard and Brian Kelley, were putting out solo projects. Hubbard is the latest one to do so with his debut solo album. He released an EP last year, all of which appears on this new self-titled album, but I thought I’d check it out for a couple of reasons -- out of pure curiosity, just to see if this album might be good, and because I’ve got a somewhat soft spot for these guys. FGL’s music is either really, really bad or it’s generic but still rather catchy. I enjoy some songs on all of their albums, at least to some degree, and I like Hubbard’s voice a lot. He’s nothing special, but he’s got a good sound to it, and I can enjoy it. Maybe his new self-titled debut album might be good, so I thought it would be good to check it out, especially when I liked the songs from the EP. As far as EPs go, it’s fine, but how is the whole album now that it’s been out for the last week?
Let me ask you, the reader, this first: do you want the short version or the long version? The short version is that this album is fine, nothing more or less. There’s a lot more I can say, but if I had to sum it up, this album’s okay. It’s nothing special, and if you have an idea of what to expect with FGL, you’re going to get the same thing here. This album feels like an extension of FGL, and it’s almost like they never broke up, but this album is less obnoxious. The long version, however, is that there are some bright moments on this album, but it’s frustrating, because it’s so generic in a lot of places, too. It’s catchy, and a lot of the songs on this album have good hooks, but this record places radio-friendly hooks over songwriting and lyricism. Hubbard’s performance is fine, and the instrumentation is well and good, but the lyrics are very bland a lot of the time, usually being very surface-level, and the songwriting is blase, too. It’s just a lot of the same, especially within the album itself. Every song on this hour-long album sounds the same, and it’s bad, folks. Not the songs are bad, but the album is way too long. This didn’t need to be an hour. I would have wanted this to be maybe around 36 to 40 minutes. It doesn’t need to be an hour. You could have cut a lot from this album and it wouldn’t have made a difference, especially when a lot of the songs have very similar lyrics. A lot of this record is about how this girl that Hubbard is with loves him for who he is, such as on “Me For Me,” which is a decent song and a good sentiment, but it’s weird when he’s painting himself out to be this unique guy when he’s just describing country tropes, such as big trucks, wearing boots, and drinking beer.
There are a few songs that try to break out of the generic formula, such as “Miss My Daddy,” where he talks about his late father, but it’s few and far between. Some songs are pretty fun, such as “Everybody Needs A Bar,” which is just about how everyone needs a bar to drink, decompress, and socialize at. He even says that everyone needs somewhere to just shoot the shit, and it’s a pretty fun moment on this album that I really liked. Overall, though, this LP just feels like a bunch of outtakes and leftover ideas from FGL records. That’s fine in itself, because a lot of their fans are going to enjoy this, since it’s not much different, but there’s a lot that’s left to be desired. I wasn’t disappointed by this, because I went into it knowing what to expect, and it’s exactly what I thought I’d get. From the EP, it’s the same thing, but there are some good moments. “5 Foot 9″ is a catchy song and one of the lead singles, “Everybody Needs A Bar” is a ton of fun, and “Miss My Daddy” is an introspective song that looks more inward and has something more personal to say than the generic country tropes that this album continues with and that Hubbard and his songwriting team thinks people still want to hear. It’s funny when you consider Hardy’s second album, The Mockingbird & The Crow, came out a couple of weeks before this, and it actively deconstructs and pokes fun at these exact tropes (especially when Hardy himself had a hand in writing some of FGL’s biggest hits). If you’re looking for some solid country with a pop edge, you’ll like this, or you miss FGL, you’ll get something out of it, but people who don’t like country already will not like this. I like some of it, especially some hooks and vocal melodies, but as a whole, it’s really lacking.
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