For years, Koe Wetzel and his army of “Koe-Bros” have been champions of reckless decision-making and living in the moment. He’s been a pioneer and a titan of a new wave Texas country scene, infusing rock and grunge with flares of country; Wetzel’s influence is evident in acts like Treaty Oak Revival and Pecos and the Rooftops, and his music has developed a reputation for being unpredictable and unhinged. Still, this latest album reels back the craziness and takes a retrospective outlook on life rather than focusing on the here and now.
The album’s overall theme takes a step back from Koe’s rapid pace and looks back on some decisions he’s made along the way. Many of the songs act as a more accessible glimpse into his life. Nonetheless, every song is still authentic to Koe’s identity as a singer and person.
“Leigh” and “Runnin’ Low” are two stories Wetzel draws on from past experiences that have shaped him into who he is today. Wetzel says the timeline of “Runnin’ Low” is “70/30 fact.” Still, regardless of the authenticity, it’s an energetic story about the narrator doing what he can to return to his significant other. “Leigh” calls back Koe’s many failed relationships but connects all the girls together with the same sounding suffix. As one of the more comical songs on the album, it’s also a story that feels very unique to Koe and his sordid past.
Still leaning into the rock side of his identity, it’s a much more subdued sound with country undertones and sensible pop hooks. Most of the album was produced by Gabe Simon (Noah Kahan’s Stick Season), Josh Serrato, Carrie K, and Sam Harris, who lent their expertise. This group of producers was able to craft each track in a way that stands out from the rest but, at the same, is cohesively aligned with the rest of the album. Songs like “Leigh” and “Sweet Dreams” obviously have their own identity as individual tracks, but as part of a collective album, they fit very nicely under “9 Lives’s” overall identity. Koe Wetzel has built a larger-than-life persona as one of the more ultra-masculine figures in music; with an album that centers around messages of vulnerability, these two songs are polar opposite sonically but still thematically very similar.
Classic Koe Wetzel tunes like “Something To Talk About” and “February 28th, 2016” from Noise Complaint will always be yelled at by college kids in bars and cars. The last three tracks of the project, “Runnin’ Low,” “Bar Song,” and “The Last Outlaw,” look to quickly join those ranks, carrying the same rowdy energy behind them. These tracks chase a much more country sound with guitar riffs reminiscent of a 90’s Brooks and Dunn hook. The album closer, “Last Outlaw Alive,” features one of the more infectious choruses of the album that sounds straight out of a Garth Brooks or Brad Paisley record.
Koe Wetzel rarely features covers on his projects, but this one features two with “Reconsider,” a Keith Gattis cover, and the widely-anticipated “Depression and Obsession,” a cover of the late XXXTentacion. While “Depression and Obsession” was a unique take on the original, it didn’t fit into the scheme of the overall album. As the third song on the record, it’s a sharp left turn down a more sorrowful path. Each song after it is much more lively and fun-loving, which may cause listeners to be confused by its inclusion on this project. In addition to the two covers, one features on the album with the somewhat controversial Jessie Murph on “High Road.” Although Koe released a solo version of the song before the album, Murph’s presence in the song brings a fresh energy in the middle of the album. Her fast-paced verse may not be on brand with the rest of the song, but it’s far from the atrocity many fans have made it out to be.
From top to bottom, this 13-track project feels like the perfect amount of rambunctious power that keeps the listener engaged for the entire time. Each album has its standouts, but most of the songs truly feel like they belong on this record. This truly feels like an album with a cohesive theme and doesn’t feel like a random collection of songs that he just felt like cutting. None of the songs feel like a waste of space, and the ones that lean into country sounds answer the wishes of many fans hoping he’d embrace that sound.
Since 2015, Wetzel has been dominating a new era of grunge and rock-inspired country, and 9 Lives shows no signs of him slowing down. With a more subdued sound overall, it’s an excellent step back from the overly unruly sound of Cabo or Sellout. With “Sweet Dreams” landing his first entry into the Billboard Hot 100, Koe seems to have cracked the formula of his revolutionary sound while appealing to the masses outside of the core “Koe-Bros.” This album may only partially live up to the legacy of Noise Complaint, but it’s undoubtedly going to be remembered for its softer and fresher sound.
8.7
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