One of the first lines of poetry on Taylor Swift’s double album, “The Tortured Poets Department,” finds the singer crooning,
“I was a functioning alcoholic ’til nobody noticed my new aesthetic.” The lyric could very well have been penned by the featured artist and co-writer on the song, Post Malone, who has had his fair share of public struggles with alcohol.
The guest spot on the moody electropop opener “Fortnight” is Malone’s latest high-profile gig in a growing list, perhaps because of, as Swift tweeted, “those melodies he creates that just stick in your head forever.”
Malone’s initial breakthrough came via hip-hop cosplay, yet his true passion lay beyond the rap scene.
Almost immediately after making waves in mainstream culture, the artist, known as Austin Post, veered towards a path more aligned with his artistic inclinations.
Steering his Bentley through a genre-agnostic pop landscape, he deftly navigated the music industry, effortlessly shifting lanes and colliding head-on with the cultural zeitgeist.
Over the course of several albums, Post Malone delivered breezy pop-rock anthems that delved into themes of self-medication and self-reflection.
Now, in a surprising move, he’s embracing country music, signaling yet another shift in his ever-evolving musical journey.
It’s a testament to Post Malone’s versatility and boundary-pushing nature that he can seamlessly transition from one genre to another, consistently leaving his mark on the music landscape.
With his distinctive blend of styles and fearless experimentation, Post Malone continues to amaze audiences and redefine what it means to be a modern-day music icon.
It’s no shocker that Malone is delving into country; his albums have flirted with country elements, from the snare stomp in “Go Flex” to the orchard metaphor in “Lemon Tree” and nods to country-pop tunes on “Austin.”
The move seemed inevitable, especially after his collaboration with Noah Kahan on “Dial Drunk” last year. Like Drake, Malone jumped on the bandwagon just in time to claim his place.
Teasing partnerships with country giants like Luke Combs and Morgan Wallen, Malone solidified his journey into country by adding his drawl to Beyoncé’s “Levii’s Jeans.”
Malone’s awareness of the country scene is evident. He’s dropped names like Sturgill Simpson, Tyler Childers, and Colter Wall on Joe Rogan’s podcast, and his choice in country covers, like Simpson’s “You Can Have the Crown” and Toby Keith’s “As Good as I Once Was,” has been spot-on.
Yet, when strumming country tunes, Malone’s vibrato outweighs his depth.
In November, Malone made his country debut at the CMAs, joining Wallen and Hardy for a cover of Joe Diffie’s “Pickup Man.”
Despite the bro-country star and the butt rocker sharing the stage, Malone stole the spotlight and received a warm reception—thankfully avoiding the backlash Beyoncé faced with “Cowboy Carter.”
However, the true standout was rapper-turned-country singer Jelly Roll, who brings authenticity to the genre, unlike Malone, who was dabbling in synth-pop during high school.
As Malone journeys towards his country album, he collaborates with Taylor Swift on her latest release, showcasing his versatility.
Surrounding himself with top-notch collaborators and session players from Nashville, Malone is poised for success in his country endeavor.
Yet, despite the support, his foray into country may lack the depth and authenticity of artists like Jelly Roll, ultimately resembling the countless Bud Lights that have fueled his career: decent but lacking flavor.
