ERNEST’s latest album, NASHVILLE, TENNESSEE, has an excellent argument for album of the year. The collaborative ensemble of poppy, uplifting tunes, down-to-earth, acoustic ballads, and twangy western swing tunes makes for a good brew that pops in your face, a nearly perfect album that is a joy to listen to over and over again. Comparing this to his previous album, FLOWER SHOPS (THE ALBUM): Two Dozen Roses, there is much more to be excited about here. Fans may have felt slightly disappointed by a lack of sensational hits on ERN’S last LP, but this album has made up for that tenfold.
Opening with “I Went To College / I Went To Jail” with Jelly Roll, the album introduces its overarching theme: a mix of love stories, younger years, heartbreak, and drinking. Although those are all expected themes for a country album, ERNEST and his team find the right balance for all of them on this record, and certain songs can give the album a quick change of pace. A great example of that is going from “You Don’t Have To Die” to “Redneck Shittt.” The tone shift is fast; you go from a sad song about losing a woman to a fast-paced Sublime-esque track about doing redneck stuff. These transitions are a great way to separate the album’s unique movements. Like its namesake, NASHVILLE, TENNESSEE is never confined to one sub-genre and shows off different shades of contemporary country, western swing, and singer-songwriter balladry.
The music itself is spectacular, and its variety is one of its greatest strengths. “Why Dallas,” with Lukas Nelson, is a particularly excellent song. The inspired production from the days when cowboys wore pearl snaps is excellent, but ERNEST and Nelson also rock together. It’s one of those songs that you’re just compelled to enjoy, with its quick lyrics and cheerful melody. The significance of this collaboration is worth noting as well; it’s a generational bridge between the old and the new. ERNEST and Lukas also mark one of the rare collaborations between two artists in and out of Music City, making this record palatable to country fans across the genre spectrum. The play on words is easy to pick up on, but the idea of someone blaming a city for taking their girl away is always fun and clever and makes for some extremely fun verses. Still, you can also look at it as if Dallas took the narrator’s girl from him. “How’d We Get Here” is another standout track, with a rolling red-dirt rhythm and a great story. The chicken-picking acoustic guitar is a breath of fresh air, and its cheery melody just makes you feel good, like a weird combination of chilling at a Margaritaville Resort and fishing on a dock in northeastern waters. It’s classy and catchy and captures ERN’s love for earthy, authentic instrumentation, signaling that what’s old is indeed new again.
As for a truly one-of-a-kind track, we gotta give it up for “Did It For The Story.” If Miami was a country song, this is 100% what it would sound like. It’s got a calm, relaxed, and confident sound that’s perfect for a yacht. But man, that violin cuts into that track like a knife into warm butter and creates a wistful, nostalgic mood, building one of the most experimental country songs we’ve been gifted in recent years.
Though there are a lot of songs here, there are probably zero misses. Some other notable highlights worth checking out include “Creep” with HARDY, “Honkytonk Fairytale,” “Hangin’ On” with Morgan Wallen, and “Would If I Could” with Lainey Wilson. These tracks are refreshing; each is unique, and in particular, that Radiohead cover was pretty awesome. You may have noticed most of these are collaborations, and that’s because ERNEST always seems to have a knack for creating chemistry with his fellow artists. Though his collaborators on this record are all very different, he’s always been a bit of an artistic chameleon, and each of these songs fits the artist he sings them with like a glove. “Hangin’ On” breathes Morgan Wallen, just as “Would If I Could” sounds perfect for Lainey.
This review also wouldn’t be complete without a mention of the album’s highlight, “Twinkle Twinkle (Live at Fenway Park)” with Ryman Saint. This new take on the classic lullaby is undeniably great; Ryman has quite the voice and is perhaps the new face of country music. In all seriousness, it’s a tremendous interlude in the middle of the record and fully asserts that this record is a genuine self-portrait of what ERNEST is all about. Overall, NASHVILLE, TENNESSEE has a great shot at remaining firmly in the discussion for the greatest album in 2024. It’s full of character, striking confidence, and easy-going slice-of-life stories that culminate in a nearly perfect LP with very little missing.
9.7
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