Billy is back and better than ever. Frequent country radio flyer Billy Currington has been anything but since his last album, Intuition, flopped as hard as you’d expect from a country artist’s Hail Mary at a pop project to escape a deal with a record label. It’s been ten years since the artist put out a body of work that resembled anything like the content that made him famous, calling into question whether his passion for country music was still there, or if he secretly hung up the saddle for good.
As it turns out, while it may have been hung for a bit, Billy brought it down for another ride. King of the World, Currington’s latest LP, sees the artist make a grand return to the format that led to some of the most recognizable and renowned country songs of the millennium. With a strong focus on storytelling, long drawls, and masterful production by Carson Chamberlain, the album is a blast from a past when mainstream country music was devoid of a million sub-genres. It avoids sounding like 2005 country karaoke, and there’s no blatant radio play anywhere on the brief 10-song tracklist.
There’s an authenticity to the entirety of King of the World that lets Currington’s artistic sparks fly. This album sounds like it was created simply to make killer country music. Its relaxing, welcoming sound makes you want to stomp your foot, grab a beer, and sing along, much like your reaction when “Good Directions” first came on. This is Billy Currington in a form we haven’t seen in decades, and it’s about time he reappeared.
There’s a groove, a story, and a catchy hook for just about everyone on this album. You’d be remiss if you didn’t immediately start singing the opening track once you’ve heard the hook a couple of times. “King of the World” sets the stage for the project’s sheer simplicity:
Currington has a roof over his head, a Labrador named Earl, fried chicken livers, and a bucket full of minnows, making him ‘king of the world.’ The celebration of ordinary things in life is much easier to get behind when it isn’t being preached to you (think Dan & Shay’s “Bigger Houses”), and this is a prime example of showing genuine pride in the things you enjoy.
The majority of the relationship songs on the project deal with the heartache that follows, and all are silky-smooth in their arrangement and lyrics. “Run for My Whiskey” has one of the slickest hooks on the entire album, while “Burning the Midnight Gasoline” offers a more disparaging tale that practically demands a piano-only version.
The shining star of relationship songs is “Bourbon Sunset.” Between the regretful lyrics and sorrowful tone in Currington’s voice, this track practically sends a whiff of smoke-filled saloon air past your face as you listen to it.
Currington’s signature ability of telling a gripping story in a song gets the spotlight on “Anchor Man.” Reciting a fictional tale of a news anchor who retires and spends most of his time on the water, the song is peculiar at first, given its unorthodox subject matter. But once you’re through the first verse, you’re enveloped in a charming tale of enjoying life to the fullest after working hard and achieving your goal.
An ode to living down south, “Southern Star” is not just a boot-stomper, but one of the most charming dedications to the place you call home of the entire year. Being track nine on the project, you’ve already been subjected to instrumentals and stories that sound like early Billy Currington, so when it comes on, its mid-tempo production feels like a pure celebration.
The party continues with “Solid Gold.” Lyrically speaking, it has by far the lightest subject matter out of all ten songs on the album: he has to get back to the love of his life, and that’s it. Yet while it may be repetitive on paper, the song avoids feeling dull or lazy. It’s an enjoyable trope about getting back home no matter what, and it serves as the perfect energizing ending to the album.
The brevity of King of the World’s tracklist allows each of these songs to breathe enough so as not to feel they’re cut short, while also not overstaying their welcome. It helps make this album one you’ll want to play again right away once it concludes. That’s also aided by the fact that there’s so much charm and smooth songwriting here; while Currington delivers great vocals on each track, it’s the lyrics that help each song feel like a complete thought, not just a bunch of hooks and references strung together for three minutes.
It ultimately makes King of the World a triumphant comeback for an artist many considered to have fallen by the wayside. There’s an abundance of nostalgic vibes, good grooves, clever lyrics, and Currington’s charisma that bolster a seeming renewed passion for making music from the “People Are Crazy” singer. Old and new fans alike will find something to enjoy, and while it may not be as successful as some of the other entries in his catalog, it’s a true gem that stands out amid the pop-oriented records flooding Nashville right now. It’s a return to a simpler format, one that Billy Currington happens to be pretty good at.
