By comparability, the singles from I’m the Drawback really feel brittle, subdued, and bitter. The lonesome guitar of the title monitor sounds fairly, however the story Wallen tells takes the “I do know you’re, however what am I?” conceit of final yr’s Submit Malone collab “I Had Some Assist” to even saltier terrain. “I assume I’m the issue/And also you’re Miss By no means-Do-No-Improper,” he sings wryly, revealing the title to be one other of his sensible aleck-y puns that feints at accountability like his final title monitor. (What first seemed to be a cliché about progress was a message to an ex who’d demanded he get sober: “I hate to let you know, lady, however I’m solely quitting one factor at a time.”) Alternatively, there’s “Lies Lies Lies” and “Simply in Case”: a whitewashed reboot of the idea of Willie Nelson’s “I By no means Cared for You,” and a mid-tempo breakup ballad that borrows “Final Night time”’s looping rhythms, minus the pop enchantment. Collectively, they current a picture of a person in a downward spiral, quieting his inside monologue by ingesting himself to sleep. The courtroom sketch cowl portrait doesn’t appear incidental.
Take heed to sufficient Wallen songs and also you’ll begin to inform the distinction between those on which he’s listed among the many writing credit and those dealt with by his trusted steady of co-writers (Charlie Good-looking, Michael Hardy, Ernest Keith Smith, Ashley Gorley, Blake Pendergrass, and so forth). The latter are inclined to cram their narratives chock-full with rustic element: The drowsy “Revelation” goals for poetry, however looks like overload in its wordy depiction of a drunk motel dawn. Wallen has a writing credit score on its companion, “Genesis,” a little bit of Dire Straits-esque heartland rock that meets the identical themes of habit and temptation head-on: “Swear it’s there in my blood/I used to be born to be misplaced,” he yowls, beating the unique sin allegory to dying, however winningly. By means of this track, and the extra compelling of the three dozen others, runs a streak of fatalism that defies the self-improvement gospel of our time and the ethical imperatives of pop’s empowerment period. He’s not listening and studying, setting boundaries, doing self-care; as a substitute, he concludes, I’m what I’m. “When am I gonna be taught?” he asks himself on “Genesis,” then shrugs: “I assume I prolly received’t.”
If there’s a through-line between Wallen and the second-biggest nation singer in America, Zach Bryan, it’s the way in which alcoholism has at all times lingered on the margins—not the carefree ingesting of Shaboozey’s “A Bar Track (Tipsy),” however one thing darker and extra destined. Now Wallen’s crashing out in plain sight, crying to his ex that he’s made an enormous mistake after one other drunken, sleepless night time on “Falling Aside.” He’s a co-writer on that one, as he’s on “Kick Myself,” a tacky rap-rock second, although not with out its pathos. He’s cleaned his act up, stop his vices, consulted medical and religious professionals, however stays depressing. “Kicked the shit that I used to make use of/However I simply can’t kick myself,” he raps despondently, observing that since sobriety, life’s solely gotten worse.
