Lil Nas X review, Montero: Bursting with technicolour heart
âYouâs a meme, youâs a joke, been a gimmick from the goâŠâ raps Lil Nas X, on a fabulous debut that directly addresses the critics who wrote him off as a one-hit wonder. To give the doubters their due, the quirky-camp country trap of âOld Town Roadâ (2019) had all the earwormy ingredients of a one-off. Made with a beat bought online for $30 in a $20-an-hour studio and later accessorised with achy-breaky embellishments from Billy Ray Cyrus, it became the longest-leading No 1 single in the Billboard Chartâs Hot 100 history. It was streamed over a billion times and was guaranteed to fill the dance floor at every primary school disco. It had kids cantering in circles, whipping the flanks of imaginary stallions and chanting, âCanât nobody tell me nothinââ at parents and teachers, until we wanted to throttle them with the toggles of their adorable little stetsons.
But on his recent, parping, brass-backed single âIndustry Babyâ, Lil Nas X reassured fans: âI told you long ago, on the road/ I got what they waitin' forâŠâ Now, he boldly delivers it. Over Monteroâs 15 tracks, he pulls together as many bright, witty and varied textures as his own, headline-grabbing wardrobe. Thereâs Latin, rock and acoustic guitar, moody indie moments, yearning concert-hall violin, sidewalk brass and all manner of keyboards (including some jazzy contributions from Elton John). Lil Nas scrolls gleefully through it all, confidently mashing genres. Miley Cyrus pops in to add her raspy ballast to âAm I Dreamingâ, while rapper Doja Cat spit-croons over the slick synth hook of âScoopâ.
What punches through it all is Lil Nasâs energised and emotional expression of his queer identity. Itâs joyous to hear the 20-year-old southerner (who grew up believing heâd have to spend his whole life in the closet) bouncing off the beats to proclaim: âI'm a pop n***a like Bieber, ha/ I don't f*** bitches, I'm queer, ha.â
The album opens on the flamenco-inflected strum and handclaps of the bouncy âCall Me By Your Nameâ, then plunges into the low-riding R&B of âDead Right Nowâ. Thereâs some breezy strumming on âWhat I Wantâ ahead of the addictive melodies on âOne of Meâ, where Lil Nas deals with industry expectations. As Elton John hits the keys, you can hear the hurt in the younger artistâs voice. In many of these songs he uses instrumental motifs to signify different emotional states. Staccato brass adds a jubilant tone to âDolla Sign Slimeâ, while a Spanish guitar contributes a sunset sorrow to the confessions of loneliness flowing through âTales of Dominicaâ. On the indie-tinged âSun Goes Downâ, he acknowledges his past suicidal thoughts and deals with the racist and homophobic culture that left him âalways thinkinâ, âWhy my lips so big?/ Was I too dark?/ Can they sense my fears?'â Later he reveals: âThese gay thoughts would always haunt me/ I prayed God would take it from me.â Against the brushed electric guitar of âVoidâ, he reaches for a falsetto as he admits to weeping through the night.
Close your eyes as you listen to Montero and you can almost feel the rainbow confetti falling from the ceiling and sticking to your tears. This album isnât the creation of a gimmick-spinner. Itâs an album bursting with technicolour heart. Now, where did I hide that disco-stetson?
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