Over the last decade, Post Malone has proven that he’s one of this generation’s most creative and versatile artists. From hip-hop bangers to indie ballads, the “Circles” singer is no stranger to stepping outside the bounds of a genre if he feels inspired. Sometimes, that plays to his detriment, but more often than not, Austin Post can pave his path and create something unique that only he could conjure.
F-1 Trillion, his sixth studio album, is Malone’s attempt at a full-blown country record. The album, undoubtedly one of 2024’s most anticipated releases, is another example of a crossover artist trying their hand at the genre following its current surge in popularity. This year alone, we’ve seen Beyonce come and go with her COWBOY CARTER project, Yung Gravy produce an inflamed ear infection with Serving Country, and even MGK collaborate with Jelly Roll on one of the year’s worst songs.
Therefore, setting your expectations properly for yet another artist joining the country hype train is challenging. However, Malone’s intentions felt different, which led to this release. His appreciation for the country genre has been evident over the years after covering songs like “You Can Have the Crown” and “I’m Gonna Miss Her.” His fandom expression has also been evident through his wardrobe, which lately consisted of Billy Strings and Tyler Childers shirts, Dolly Parton hats, and more. His approach to this album was one that every artist should take when making a country record: soak yourself in the Nashville culture, find the right people to write and collaborate with, and respect the ones that came before you.
With credits from some of the industry’s most respected writers and collaborations with country music’s best and most impressive production, F-1 Trillion is one of the best country albums this decade and a stand-out in Malone’s catalog. It’s a much larger album than “I Had Some Help,” “Pour Me a Drink,” or “Guy For That” could’ve eluded to.
Fans tuning into Post’s country era for the first time will recognize the “Rockstar” singer right away on tracks like “Wrong Ones” and “Finer Things,” which are the epitome of what happens when you blend the braggadocious nature of a rapper with the high energy of barn-burning country classics.
Malone’s aggressive vocal performance on “Wrong Ones” reminds fans that he’s still at the top of the food chain with an explicit reference to how stacked his bank account is. Meanwhile, the electrifying instrumentals set the perfect stage for collaborator Tim McGraw to shine, recalling the same rugged prowess and energy as his 2002 hit “Real Good Man.”
Hank Williams, Jr. delivers a solid performance on “Finer Things,” a track expressing Post’s preference for luxury in the country (“I’m in that deer blind with a diamond ring, My Lambo’ and my ammo’s all camo green”). Similarly, “M-E-X-I-C-O,” featuring Billy Strings, is equally as fun lyrically without taking itself too seriously.
Other highlights come from the more delicate moments in the album. “Nosedive” explores the beauty in every turn throughout your life, for better or worse. Lainey Wilson adds her signature twang and gives the track an ethereal feeling. The same can be said for “Never Love You Again,” with Sierra Ferell delivering an impressive performance despite only coming in for background vocals.
A true stand-out moment comes at track 13. “Missin’ You Like This,” Post’s second collaboration with Luke Combs, is perhaps the best song on the album. The song is far more substantive, delivering an emotional tale about a regretful breakup that plays to both Post and Luke’s vocal capabilities. Compared to the surface-level approach the pair took on “Guy For That,” with its lackluster wordplay and dissatisfying conclusion, the difference couldn’t be more night and day.
An overarching theme of F-1 Trillion is Posty’s ability to match the artists he features to songs that perfectly fit their artistic stylings. “Hide My Gun,” Malone’s song with HARDY, makes you miss the old days when HARDY would write profoundly good country lyrics. “California Sober” sounds like it was ripped right off a Chris Stapleton album, yet it stands alone as another example of Post’s multifacetedness.
His three solo songs prove Post Malone’s capability to transition to country music. Like the album, all three songs offer much versatility sonically. “What Don’t Belong To Me” takes a contemporary approach, “Yours” plucks at the heartstrings, and “Right About You” will make you want to tap your feet the whole way through.”
The best of the three is “Yours,” where Post honors his daughter as he sings to her future husband. While she may be starting a new journey with that man, she will always be Posty’s life. It’s the most emotional song on the album, conveying Malone’s perspective as a “girl dad” beautifully.
In an album that had so many positives, it wasn’t all sunshine and rainbows. “Have The Heart,” his collab with Dolly Parton, is the worst song on the record. The two artists have zero chemistry, and the track feels entirely out of place on the record. Dolly isn’t on the album to sound good but more to add a “cool factor” with her status as country music’s fairy godmother. That just wasn’t enough to save the song from being undeniably unimpressive.
The other letdown was “Losers,” featuring country music’s favorite convict, Jelly Roll. It is yet another song in which Jelly Roll reminds everyone that he is an outcast, sinner, loser, and everything else. Like most of his songs, it has a silver lining of positivity, but it doesn’t escape the reality that this theme is getting extremely repetitive.
“Goes Without Saying,” a collaboration with Brad Paisley, is a great song that’s cleverly written and features Paisley’s signature guitar skills. But from a vocal standpoint, Paisley doesn’t quite fit. Whereas many of the artists Malone features were given tracks that match their artistic stylings, it’s hard to argue that Paisley was given the same treatment.
Post Malone impressively showed off his versatility throughout the collection of 18 songs. The three promotional releases were as contemporary as it gets and were ultimately just “radio songs.” Early on, it seemed that all the songs would carry a similar vibe, which would’ve been incredibly disappointing considering what Post has shown listeners at different festivals, award shows, etc. Turns out he saved his best work for the album. The record offers a little something for everyone, featuring pop-country, outlaw-country, and folk-country, and it even ventures into some dad music.
Malone’s respect for country music culture and his ear for pairing certain artists with certain songs must be acknowledged. Almost no one felt out of place throughout the entire album, making it even more enjoyable to listen to.
With such a wide range of styles, F-1 Trillion effortlessly checks all the boxes, appealing to fans of every corner of country music and asserting Malone’s place in the genre.
