Once upon a time, in a world full of bro-country and cliches, Cole Swindell was on his way to becoming a prominent name in country music. With radio hits like “Chillin’ It,” “Let Me See Ya Girl,” and “You Should Be Here,” Swindell showed some versatility and real promise as an artist. Of course, that was at a point in time when his style of music was thriving, thanks to the Florida Georgia Lines and Luke Bryan’s of the world.
In the past 10 years, country music has changed a lot, and Cole Swindell dropped his fifth studio album, Spanish Moss, a 21-track record that attempts to evolve with the genre but doesn’t necessarily do so successfully. A much more raw sound would’ve gone a long way. It would’ve felt more authentic and not like it was strictly being created for the radio. The production is more mellow overall, as he goes for a “less-is-more” approach to much of this project. You honestly have to appreciate the effort. It feels like it took forever for Swindell to realize that genre was evolving around him, and this felt like his first attempt to adjust, except for a couple of songs. However, it’s like a backup quarterback throwing perfect spirals in warmups – it doesn’t mean he’s ready to win the game.
This isn’t to say Cole Swindell should completely change his look, sound, and everything that goes with it. It’s important to stay true to yourself and keep that authenticity. However, there is also a world where you can accomplish a happy medium, and not everything has to be radio-friendly. Chase Rice is the perfect example of this. His last two studio albums are evidence of artist growth, personally and with the genre as a whole. He went from “Ready Set Roll” to “Bench Seat;” if that’s not a generational comeback, I don’t know what it is.
In theory, this is an adjustment that Swindell could make easily. He has shown commendable emotional depth throughout his career with “You Should Be Here” and “Breakup In The End.” The most significant difference between those tracks and anything on Spanish Moss is that the older ones leave the listener with a real feeling and a desire to return to them. That’s not the case here; most of the songs are forgettable and don’t even come close to making the listener feel the same emotion as his previous songs.
When looking back on the record, not even very many tracks stand out. In short, they are all just there. There isn’t anything that makes this record memorable in any way, shape, or form. The best way to describe “the record “from start to finish is impressively average. The album is full of unoriginal concepts, boring hooks, and a generic overall sound. It’s not easy to put out 21 songs in general, much less 21 songs that all leave you with the same feeling of “Oh, okay.” It’s not exactly good enough to return to, but not bad enough to be genuinely upset by the music.
The main high point is the production. The steel guitar and fiddle appear throughout the record, giving it a real country feel. There is also some occasional dobro, which adds a compelling twang factor, making it feel more unique than some of his other music. That said, like much of the record, not all the production is perfect. “We Can Always Move On” definitely raises some glaring question marks. Between the snap tracks and trap beats, it quickly becomes an easy skip.
Singing from personal experience gives the music a real, authentic feel. It’s easy to tell when the artist feels what they are singing and their experiences. Considering that, there is always a line. Most of the songwriting on the record feels honest to Swindell, but it gets too specific at some points. Music that is personal yet relatable is a perfect sweet spot. Several times throughout the record, we find Swindell getting overly specific, creating a mundane feeling that’s ultimately difficult to connect with. In songs like “Dale Jr.,” Swindell hones in on the story of him hanging with Dale Earnhardt Jr., talking about how much they miss their dads. Many people can relate to the part about missing a loved one, but once it hits a certain point, it becomes easy to check out because it stops being a bout the loss, and more about the fact that he had a conversation with Dale Jr. On the bright side, there are some great examples of relatable personal experiences, like in “Someone Worth Missing.” He sings about his father’s funeral and reflects on his life, wondering if he will one day be someone worth missing, too. Without getting too personal, it still shows some vulnerability, making this one of the best songs on the album.
In sum, it’s a grind to listen to the album, and it’s 21 songs of straight mediocrity. Spanish Moss could be something nice to throw on in the background while getting some work done, but you don’t want to devote a full hour to giving your undivided attention. At a certain point, it just feels like you’re listening to the same song on repeat as everything eventually blurs together. You will forget songs from the beginning by the time you reach the end due to its overall dullness in every aspect. That being said, after you listen to Cole Swindell’s fifth album once, you probably won’t be returning; for him, making the album may as well have been nothing more than just a box to check.
