The man who can do no wrong in the eyes of so many has finally released his fourth studio album, I’m The Problem. Eclipsing his previous record of 36 tracks by one song, this behemoth clocks in at just under two hours, making this album a serious undertaking for any listener trying to listen from start to finish.
Somewhere in all the redundancy is a cohesive 12-16 track album that would have helped progress Wallen’s career into a more mature era, but this monster didn’t prove anything to the listener that he’s grown as an artist. Tracks like “Superman” and “I’m A Little Crazy” help to add context to Wallen as an individual and his experiences over the last two years, but as an artist, it all remains in the same commercial vein as One Thing At A Time. Wallen doesn’t shy away from his past but instead embraces his life’s decisions, which is ultimately the point of making music.
The album’s biggest downfall is, without a doubt, the sheer quantity of songs. The release of the first single in July 2024 marked the beginning of a steady stream of hits, with each subsequent track enjoying its own time at the top of the charts. This sporadic release schedule provided the singles with a life of their own and developed some variety. However, even the singles didn’t offer much variety with them all being arranged in a similar verse, chorus, and bridge structure, and Wallen remaining in a relatively safe vocal range the entire time. Many tracks feel too comfortable for him, and he doesn’t feel like he’s taking any risks sonically. Morgan Wallen first burst onto the scene with his stellar voice and stretched the rasp to new heights before it was trendy like Warren Zeiders or Jelly Roll. Now his signature vibrato is nowhere to be found, and many songs feel lifeless. Considering how big of a star he is, there isn’t a need for many risks but where his sophomore album Dangerous shined over this one was the moments where he wasn’t surrounded by trap beats, and it relied on his natural gift as a singer to prove why he’s the face of the genre.
With an album of 37 tracks, there will inevitably be lots of collaborators. Still, with 49 different writers credited, it raises concerns of whether there are too many cooks in the kitchen. While that may not necessarily be the case, it raises an important question: if so many people can contribute to a project and produce music that sounds so similar, how original is Morgan Wallen’s style if it can be so easily replicated? Many of the writers are frequent collaborators like Ryan Vojtesak, Chase McGill, and Blake Pendergrass, but many are first-time writers who seem to have nailed the Morgan Wallen experiment on the first try. With Wallen’s pedigree, it’s wonderful to see that he’s giving an opportunity to so many different writers that otherwise may not have. Although this project is so dense, the formula develops his brand and style of music that is instantly recognizable by so many.
Wrapping up the first third of the album lies the track “Where’d That Girl Go,” which was penned by Wallen, Rocky Block, John Byron, Ryan Vojtesak, Blake Pendergrass, Joe Reeves, and Geoff Warburton; a combination of the usual suspects and new faces. The fact that this song needed seven writers is a concern of its own, but it’s an example of how, with a little guidance from a seasoned vet, any group of writers can create a hit song for Wallen.
While this album presents more than its fair share of grievances for the biggest name in country music, this review would be doing the readers a disservice by not acknowledging the highlights. Even though so many writers are collaborating on this, of the five featured artists, one song stands tall above the rest. “The Dealer,” alongside Ernest, is by far one of the standout tracks and a seismic improvement from “Cowgirls,” his featured moment on One Thing At A Time. On the album’s only solo-write, Blake Pendergrass developed a song that leans on the notion that life is full of uncertainties, just like a game of cards, and the player has to accept whatever the dealer gives them. This is the type of internal reflection that fans have been begging for Wallen to verbalize, finally. Although Wallen didn’t write the track, it provides a clear insight into his world as he continues his battle with the consequences of his actions and unpredictable future.
The album’s collaborations naturally sort themselves into three tiers—best, mediocre, and worst, with the fourth track featuring Tate McRae unmistakably landing in the final category. Wallen has always had a natural talent for maneuvering smoothly in and out of verses, but the constant infusion of artificial drum loops takes away from his natural abilities.. Pop singers crossing into the country world continues to be either a smash hit or an utter disaster. While the tune is sure to be a success with some, it’s another example of collaborations that fail to create a succinct union between the two stars. The track as a whole feels very sloppy, with the vocals not being very clear and the trap beats drowning out McRae, even though there are probably Wallen fans who aren’t losing sleep over this.
The glaring concern for many on this record is the excessive use of trap beats and drum loops. While we may be in a world of pop and rap music constantly being infused into the country, the lack of softer percussion will eventually alienate us more than it will bring in. Even though we’ve come to expect this from Wallen, every time a trap beat is rolled out after the first verse, so many fans will always roll their eyes in disgust as they yearn for a day when he’ll revert to the days of authentic drums and an acoustic guitar. Prior to the release, avid fans will be quick to recall that Wallen said he’d be limiting the trap beats on this album when he made an appearance on Theo Von’s podcast. With the style of production riddled all over, it’s unclear if the sentiment was true or if he was dropping hints about future projects.
As one of the genre’s flagship artists, Wallen didn’t have much to prove when coming into this record. Even though this may not be the most critically acclaimed work he’s put out, his diehard fanbase will still appreciate all 37 tracks like they’re his last. For those new to Morgan Wallen or contemporary country, Dangerous should still be recommended over his more recent releases. It strikes a better balance between personal storytelling and mainstream appeal, offering a clearer sense of the artist’s identity and the message he’s trying to convey. As time goes on and the album matures, fans will craft their own 12-16 track album that best suits their desires. However, for I’m the Problem as a full body of work, with little character development for Wallen as an individual, it lacks a clear and consistent theme, making it a 37-track mess.
