Album Review – Luke Combs “What You See Is What You Get”
Luke Combs is not the William Faulkner of country music. He’s the Grisham, or the Clancy. Ripe for mass consumption, easy to get into, riveting in moments, it’s a much more healthier alternative to a People Magazine or some trashy romance novel for a long flight, but it’s not exactly material for the Pulitzer Prize. It’s country, it’s easy on the ears, it’s above average quality for its weight class. But most importantly, it’s the undisputed most popular thing in American country music during this the streaming era.
It’s hard to quantify or put into words the kind of impact Luke Combs is having, because what he’s doing is so unprecedented, and because we’re still trying to tweak our perspective to the streaming medium. But it doesn’t matter what the metric is, Luke Combs is dominating it at the moment. He’s setting records for album sales. He’s monopolizing the country streaming market. He sold out an arena tour during his first stint as a headliner. His singles are so hot on radio, they shoot the number one too quickly, screwing up his label’s rollout plans.
Not Taylor Swift, not Garth Brooks, not Sam Hunt or Florida Georgia Line saw this kind of success out of the chute. The numbers are indisputable, and it’s fair to assess this run as historic, even if the Luke Combs name doesn’t elicit the kind of passionate response other popular or polarizing names in country music do. Luke Combs is not sexy. Luke Combs makes for terrible tabloid fodder. Nobody writes think pieces about the cultural impact of Luke Combs, even though his impact has arguably been greater than any other mainstream country artist in the last half-decade. Luke Combs just wins.
Now Luke is replacing himself on his already-historic run on the country albums charts with a new record called What You See Is What You Get. What a perfect name for a guy who doesn’t rely on gaming celebrity media channels or trying to make a spectacle of himself to garner attention. Some folks forget, but Luke Combs started as an independent artist, built his career up from grass roots, was signed to the insurgent Thirty Tigers distribution label for a short time, and still wears that everyday, average dude attitude on his sleeve with honor. No matter if he’s singing for a honky tonk or a sold out arena, or how many zeros are on the paycheck, Luke Combs is just working for the next opportunity to take a six-pack fishing.
In an era of music when it’s often extremes and risk taking that define the most popular artists, Luke Combs just sits right down in the middle, and keeps it “vanilla” as Hank Williams used to say. And in many ways that is what What You See Is What You Get is all about. Luke Combs is not a throwback neotraditionalist honky tonker, and if he tried to be, he would be worse off for it, because it wouldn’t be true to him. Combs has mentioned how he didn’t grow up on Merle Haggard, but on a cool mix of 90s country like many of today’s Millennials. And that’s okay. And that’s what you get on this new record. You get slightly shallow and cliche quarter century-old country music paid forward to today, performed and produced well, with enough twang to keep you happy, while avoiding pitfalls like electronic drum beats or mumble lyric rapping that regularly ruins otherwise decent popular country.
You are kind of surprised just how country this record is—probably more country than Luke’s breakout album This One’s For You. You still definitely have some of that post Bro-Country list-style lyricism lingering on a host of these songs, but not enough to make you switch it off. Is it as twangy and country as Jon Pardi’s Heartache Medication? No it’s not. Does it have the number of quality songs as Miranda Lambert’s Wildcard? Oh God no. But it’s also way more consistent than Wildcard. A Luke Combs song will never cut deep. The last thing he wants to do is lump himself in with the Americana crowd, and erode the blue collar/high school-educated cred that’s at the heart of his appeal. He’s also never going to offer a replacement to your favorite records if you’re an independent country/Americana fan. But a Luke Combs song will never make you feel stupid for listening like most of mainstream country.
You hear a song like the lead single, “Beer Never Broke My Heart” and think, “Okay. Pretty Bro-ish.” Then you hear the second song from the album “Refrigerator Door” about memories magnetized to a Maytag and say, “Alight, I see what he did there.” Then you hear the third song from the album “Even Though I’m Leaving” and say, “Okay, I’m impressed.” And so goes the Luke Combs listening experience. Each song has enough substance to get by, but doesn’t get in the way of the meat and potatoes aspect of Luke Combs that has made him so popular.
This canonizing of the average man is what Luke Combs sings about specifically in the title track, in his collaboration with Eric Church, “Does To Me,” and another one of the Bro-ish tracks on the record, “Blue Collar Boys.” Beyond his refusal to rap or adopt 808 beats, what separates Luke Combs from the Bro-Country crowd is that you believe him when he sings about beer and fishing. About the only place on the record where the production feels bothersome is at the beginning of the song “All Over Again,” and that doesn’t come until the 15th track. Oh, and what’s up with the cover art? About the only positive thing to say about it is that it will be great inspiration for all the aspiring elementary school artists out there. Sure, that’s probably the aesthetic they’re trying to go for, but yikes.
Its the Luke Combs consistency that has been the key to his success, and it’s a successes that is now stretching into five years without missing a #1 on country radio. That’s what makes the Luke Combs phenomenon even more impressive than the Chris Stapleton run that preceded and overlapped it. There was no warming up period needed for Luke Combs and radio. Instead, radio is looking for more of what he’s serving, causing the entirely of mainstream country to start leaning more rootsy and twangy due to the copycat nature of the business. Combine this with the Chris Stapleton impact, and doughy bearded dues are on one hell of a roll right now, and country music is better off for it.
There is listening to an album for the enjoyment of the music, and then there is regarding an album or artist within their importance to the health of country music at large. There’s nothing wrong with shirking the latter concern. There are so many other things to worry about in the world beyond the state of country music at the moment, some listeners just want to find something they like and push play. For the toughest country connoisseurs out there, Luke Combs will remain on the outside of their listening rotation, and for fair reasons. But for a greater number of general listeners every day, Luke Combs is who they prefer over Luke Bryan or Florida Georgia Line. He is the biggest country music artist in 2019, and will hold that title into 2020 barring unforeseen circumstances. And regardless of what you think personally about him, that assessment bodes well for the future of country music.
1 1/2 Guns Up
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November 10, 2019 @ 12:21 pm
I think his appeal is exactly what his album title suggests ‘what you see is what you get’. Luke is genuine and real, and in a world so fixated on SM and fakery that’s really appealing. He’s just a guy with his guitar making music. He’s not out there trying to be something or someone he’s not. He’s not some pin up boy, he’s a regular dude and people can relate to him on a personal level. I am happy for him that he’s been so successful given how much of music is about packaging rather than talent. Keep doing what you are doing Luke.
strait country 81
November 10, 2019 @ 12:26 pm
Enjoyed this more than his previous just added the 5 i like most to my playlist.
Glad to see country is getting dominated by the tolerable Luke
November 10, 2019 @ 12:34 pm
I took my kid to see Luke in Snowmass for Jazz Aspen this summer. Most of the crowd was there to see John Meyer or to just be seen, but I think he won them over. He just seems like somebody living the dream, and not a bit of hubris about it. Im a fan.
November 10, 2019 @ 12:37 pm
Luke is what I consider one of the good guys of mainstream. It seems with the extended list of tracks from his last album it was showing the label he could do more songs that are countryish and have wide success, because like you said Trig this album overall is more country.
He definitely seems like an average guy who you could get a beer with and his invitation to be a member of the Opry was one where you could tell he was genuinely moved and didnt take it lightly. If him and Pardi are what’s going to be the norm from the post bro country years, then I’m okay with the direction of mainstream.
November 10, 2019 @ 12:44 pm
“Even Though I’m Leaving” is probably one of my quickest playlist adds of all time.
Is it too early to label him as Gen Z’s George Strait? I can’t think of very many other artists that have had this much impact on country music culture (beyond just the charts) right out of the gate.
November 10, 2019 @ 2:43 pm
Jon Pardi should be Gen Z’s next George Strait period!! Maybe Luke Combs will be the next Toby Keith?
Strait Country 81
November 10, 2019 @ 3:31 pm
Toby is really good when he wants to be
November 11, 2019 @ 9:58 am
Agreed. I think Toby gets a bad rap for the jingoism present in some of his songs and his image at the turn of the millennium. But I consider his appeal tantamount to that of Luke Combs, minus the somewhat controversial angle.
November 10, 2019 @ 7:04 pm
I would say he is more of the “Garth Brooks” of today. A compliment either way though!
November 10, 2019 @ 12:47 pm
I love your comment on the album cover lol, “yikes”. I thought the same thing, it looks terrible, but oh well, if my biggest complaint about a record is the cover artwork, it must be a pretty decent album. 7/10, pretty good, nothing dramatically life changing.
November 10, 2019 @ 12:53 pm
It’s a good album and just so fun to listen to. It’s a beautiful cool sunny day here in Charlotte, and I listened to the album to and from church, with windows rolled down, not a care in the world. Luke hits the spot. It was smart to front-load the album with two of the most substantive songs: “Refrigerator Door” and “Even Though I’m Leaving.” I would have preferred more of that throughout the album (and it does exist), but it’s hard to complain with so many fun jams like “Angels Workin’ Overtime.” And kudos to the production quality, minus a few minor mishaps. I’m curious to see how this lands on Billboard’s all-genre.
November 10, 2019 @ 1:44 pm
This is how you should sequence an album. Put a big, catchy single to start to lure people in, but then give people some substance to keep them listening. First impressions are important, and that’s what failed some people when it came to the new Miranda Lambert album that put all the best songs at the end.
November 10, 2019 @ 12:55 pm
Not the right place for this discussion, But have you thought about making a “Best of the 2010’s” list?
November 10, 2019 @ 1:41 pm
Planning to do some “Best of the Decade” stuff at the beginning of next year. Want to wait until all the cards are dealt this year with so many great releases before I jump into that.
November 10, 2019 @ 1:48 pm
Looking forward to it
November 10, 2019 @ 12:59 pm
I Don’t mind this guy. If Kane Brown is McDonald’s, Luke Combes is 5 guys. If FL/GA line is Taco Bell, LC is Moes. You probably shouldn’t spend a lot of time eating at any of those establishments, but if you‘re hungover on a Saturday afternoon and need something quick to make you feel better, and ready to face the rest of the weekend, you might as well go to the place that actually puts a little more effort into their menu.
November 11, 2019 @ 4:21 pm
Please never insult Taco Bell that way again. Taco Bell has never let me down or left me wanting to puke. >:(
November 12, 2019 @ 8:39 am
it’s good hangover food, but still not as good as Moes.
November 10, 2019 @ 1:45 pm
I haven’t listened yet but I plan to. But is there anybody y’all think is just doing 90s country music? Like is there anybody who sounds like Clint black or Alan Jackson or mark chesnutt?
November 10, 2019 @ 2:34 pm
In the mainstream? I don’t think so, but this is probably the closest.
Overall, Tom Buller is a perfect throwback to that sound. His debut album was one of my favorite albums last year
November 11, 2019 @ 9:37 am
Got bored about halfway through a first listen of this album, then read your comment. Took about 5 words into the first Tom Buller song to leave the mainstream behind again.
The artistic/talent divide between LC and TB is so undeniably wide, it’s hard to fathom.
LC has a good voice; TB makes you feel what he’s singing.
LC sound is quite bro when it comes down to it; TB is unapologetically country, and he plays his own lead guitar to boot.
LC songwriting is superficial good old boy shoutouts; TB songs are well-written stories about real people and real emotions.
I’m glad Combs, Pardi, Midland are taking radio spins away from the next Sam Hunt, but none of these yahoos can objectively touch Tom Buller’s talent level. Why waste your ears on a format that consciously seeks lesser talent?
November 11, 2019 @ 10:12 am
“Why waste your ears on a format that consciously seeks lesser talent?”
Because you don’t know you have better options. That’s why an artist like Luke Combs can be so important. It opens peoples eyes to the possibility that there’s better music out there. I featured Tom Buller last year, his album was one of the “Most Essential” in 2018, had him on the playlist for months. But it was a comment on a Luke Combs review that got you to pay attention. That’s how country music will be saved.
November 11, 2019 @ 4:29 pm
I have to agree. This comment made me look up Tom Buller and holy crap, he’s the real deal.
North Woods Country
November 10, 2019 @ 3:46 pm
Randall King, perhaps
November 10, 2019 @ 3:59 pm
In the mainstream (or perhaps mainstream adjacent) Jon Pardi and Aaron Watson are probably the closest, especially Watson’s earlier stuff. Among more independent artists, Jon Wolfe and Randall King spring to mind.
November 10, 2019 @ 7:19 pm
Second Jon Wolfe, plus he’s a hell of a nice guy
November 12, 2019 @ 7:44 am
I hadn’t listened to Wolfe before, but DAMN, he’s got that straight down the middle, accessible TX Country vibe nailed down. I can’t help but think that if mainstream Country had avoided the whole R&B/Rap detour, Wolfe would be killing it nationwide like George did back in the day.
November 11, 2019 @ 7:27 am
Go get you some Jay Bragg. https://www.youtube.com/watch?v=IzRf3T3VUrg
November 12, 2019 @ 6:16 am
Try young Texas new comer Triston Marez. He’s been supporting Jon Wolfe, Aaron Watson, Randall King and Josh Ward all year. He’s country like Strait and Jackson.
November 10, 2019 @ 1:46 pm
Combs, Pardi, Riley Green, Midland, etc. might not be for me, but they’re definitely a net positive if they can take radio plays from some of the other clowns.
November 10, 2019 @ 2:01 pm
I like this record. It’s too long, but it’s good. 1, 2 Many is my favourite.
I think we should be happy that the biggest artist in country right now is coming out with an unabashedly country album. That might not sound like much, but just listening to Spotify’s Hot Country playlist should let you know how much of what’s sold as country these days is just not country at all.
You and Your White Claw
November 10, 2019 @ 2:23 pm
You don’t think it has as many good songs as Wilcard an album with 3 good songs 2 middling and the rest are hog shit pop? Taste is subjective but I really didn’t figure you as a bad country pop lover. The thing I like about Luke is that you can listen to his whole album without feeling the need to hit the skip button. Even his not great songs are better than most. He deserves all the success.
November 10, 2019 @ 2:49 pm
What I was trying to say is that the top songs of “Wildcard” are better than the top songs of “What You See Is What You Get.” Consider it the Top 3 songs from each album, if you will. Overall, I think Luke Combs has the more well-rounded album, but Miranda Lambert released the best songs. In my opinion.
November 10, 2019 @ 2:37 pm
Luke Combs is the “meat and potatoes ” of country music. He’s reliable, its good, it’s for the mainstream.. but can get bland and repetitive after awhile…
What you see is literally ALL you get from this man. The production is quite bland… Luke would be better off doing accoustic albums. Way too many songs that get repetitive by track 11… The Brooks and Dunn duet feels like an after thought.. they barely appear on it.. only by the bridge of the song.
November 10, 2019 @ 3:17 pm
Really surprised just how country this album is. None of those electronic beats that plagued his debut. Im really not one of those people that complains about album lengths, i look at it as just more bang for your buck. Very enjoyable listen though.
November 10, 2019 @ 3:37 pm
I thing he is really good at what he does. He appeals to everyone and I’m 67 years old and I love his music. I’m listening for to come.A fan.
November 10, 2019 @ 4:02 pm
“The album’s cover art is a photo that was taken by David Bergman and then painted by Nashville-based artist Rob Hendon. ”
Luke told fans this a few weeks ago. It can also be read here: https://country1025.com/2019/09/luke-combs-reveals-new-album-cover/
November 10, 2019 @ 4:10 pm
If Journey was the poster child of corporate rock, Luke Combs is the poster child of corporate country. Not an original or inspired note or lyric to be found. Radio friendly for the soccer moms to listen to running errands and trips to the kids sporting events. It’ll sell millions.
November 10, 2019 @ 5:23 pm
Agree. It’s music for people who aren’t really all that into music.
November 25, 2019 @ 11:09 am
Long time lurker first time commenter; I disagree.
I’ve been a quintessential “music guy” for over half of my life (27M; Rock, Metal, Hip-Hop mostly) without every really appreciating country.
I grew to enjoy 90’s Alan Jackson and Brooks & Dunn kind of stuff but quickly found myself frustrated by the overbearing electronic/pop influence on current year mainstream country when I tried to expand my playlist.
Luke Combs and Midland are the only artists tethering me to contemporary country right now.
Strait Country 81
November 10, 2019 @ 5:50 pm
Damn! Guess I better get a sex change and have a kid if he’s only for soccer moms.
November 10, 2019 @ 8:36 pm
what dawg said…..soccer mom safe ….good voice and passable songs .
i haven’t minded the production …..
excellent breakdown above , trigger ……on the money .
November 10, 2019 @ 4:46 pm
LUKE I think you’re great and I’m a senior citizen. I listen to your music all the time. So keep it coming. Just enjoying it all
November 10, 2019 @ 5:10 pm
Love him and the new album. Awesome NC dude playing good tunes.
November 10, 2019 @ 5:19 pm
Have you seen his numbers projections? In this day and age. No media blitz. No Pr bs. Just here it is. Trig did you see the NYT article comparing him and Miranda? Saying they were following their gender roles. Interested in your views. When you get a chance.
November 10, 2019 @ 8:22 pm
It’s a little early for projections, but I expect this album to have the best debut in country music in 2019, maybe one of the best debuts by any artist all year, and easily #1 all genre.
I did not see the article comparing him to Miranda, but if it was talking about “gender roles,” I don’t even have to look to know it was written by the terrible Jon Caramanica. He is a hip-hop writer who tries his hand at country every once in a while, and usually sticks his foot in his mouth in the process. If a media outlet the size of The New York Times is going to cover country music, then they need to hire or use somebody who actually knows about country music. It’s an insult to country to put your hip-hop writer on the case as so many outlets are doing these days, especially when you’re publishing outright lies and misnomers like the NYT has done at country music’s expense multiple times. I hate to run down my fellow journalists, but get someone like Jewly Hight to write about country.
I’ll check it out when I get a chance.
Cool Lester Smooth
November 11, 2019 @ 10:44 am
I was actually pleasantly surprised by the article – it honestly echoes a lot of the points you’ve made over the last few years, about how the mainstream has no real use for female acts, and just wants its male stars to sing meat-and-potatoes list songs.
November 11, 2019 @ 2:29 pm
I was right it was written by Jon Caramanica, but I agree it wasn’t as bad as the clickbait, politically-driven headline. Nonetheless, if the New York Times wants to cover these two very important albums in country music, don’t insult both by comparing them side by side, and use somebody who actually knows the in’s and out’s of country. The article had to be corrected because they got some simple facts wrong (it happens), but it paints an unfair, stereotypical picture that all males in country sing Bro-Country list songs, and none of the women in country are successful. Combs is helping to break away from the Bro-Country era, and Miranda Lambert is one of the most successful women in country music history. We don’t all have to agree on everyone else’s opinions on country music, but it’s disrespectful to not come to the table with an informed opionon when the weight of something like “The New York Times” is behind it.
November 10, 2019 @ 9:40 pm
No mention of the Brooks and Dunn collab?
November 10, 2019 @ 10:00 pm
17 songs on the record, not going to mention them all. “1,2 Many” is one of the better tracks.
November 10, 2019 @ 10:37 pm
I heard the “chipmunks” version of Beer never broke my heart and it got me thinking that if you sped it up and took the heaviness out of it that it would sound about like what a 90’s honkytonk song would sound like. I’ve always liked my music just a bit on the heavier side production wise so it didn’t turn me off.
Even though I’m leaving hits me hard every time. Even though I haven’t lost my dad. I feel like I could sing it at a funeral 10 years from now and it’d still choke a room up. Standout track.
Better Together is that big ol wedding song. 1, 2 many is a cleverly written song who B&D kill it on. Same with does to me with Eric Church. No it’s not as emotionally heavy as a Jinks record would be. But mainstream isn’t supposed to be heavy all the time. I like this record.
November 10, 2019 @ 11:32 pm
My only real issue with Luke Combs is the way he’s positioned, by both this site and the country music industry/community in general. Musically speaking, I don’t find him much more country than the endless of deluge of country-pop men (Dylan Thomas, Thomas Rhett, Kane Brown, etc.) on country radio. He’s thicker and less handsome, which I suppose gives him a veneer of authenticity. But it’s frustrating to see image play such a central role in how an artist gets received, particularly in this genre.
Saving Bro Country Music
November 11, 2019 @ 8:41 am
Here’s the thing. You can make the case that his country-est stuff isn’t any more country than the most country tracks in the Thomas Rhett or Kane Brown discographies.
But the key is that his “worst” tracks are still fairly country — and WAY more country than the worst of the Rhett, Brown, Hunt, etc discographies. You never get the sense that he’s trying to be Bruno Mars or 2000s Justin Timberlake, whereas someone like Rhett doesn’t hide that aspiration at all.
And that’s more than an “image” thing. I’m not going to lie and pretend I haven’t seen (and rolled my eyes at) some comments suggesting being chubby or having a beard automatically makes you more “country” than a good-looking dude with a good haircut … but I think the HEART of Trigger’s message is pretty clearly that Luke Combs is A) authentic and B) content with being part of country music.
There’s a difference between being “influenced” by music from other genres … and clearly aspiring to be someone from another genre. Both are fine, but only ONE is suitable for someone who wants to be viewed as country through-and-through.
November 11, 2019 @ 10:34 am
I really don’t think this is an image thing behind the Luke Combs popularity. There is definitely a musical element that separates him from the pretty boys of popular country. That said, and I’m definitely not one of these “body positive” dudes, but I do think it’s cool that a bigger dude can get some attention. It means that image is NOT the only thing that can decide popularity in popular music.
November 14, 2019 @ 9:39 am
Maybe his image is more in play than you think. When Ron Jeremy started doing porn he was the hairy slightly overweight every-man as opposed to some buff male model type and for that reason he was/is one of the biggest stars in the industry because it was more relatable for the audience. What Ron Jeremy was to the porn industry , Luke Combs is to the country music industry. The music isn’t good enough for his image to not be carrying him somehow.
November 14, 2019 @ 12:21 pm
I’m not saying that image doesn’t maybe factor into his popularity, where people can easily identify with him. But I don’t think that’s what is driving his career or success. I think finding the sweet spot between accessibility and substance, country and contemporary is what’s driving his popularity.
November 14, 2019 @ 9:41 am
When did Dylan Thomas get back on the scene? Is it a hologram?
November 11, 2019 @ 4:02 am
Good album, although i am beginning to tire of his sound, the same chord progressions, production, big guitars etc. However what he’s released so far i am loving, so i’d give this a solid 7.5. I would like to see him shake things up a bit for the big album #3 whenever that may be! Like people said, he’s the meat and potatoes, very reliable and you know what you’re getting, but it’s not going to change your life
November 11, 2019 @ 6:57 am
Dig your reviews. Could you do one of the new Motorcars album? I feel like its getting slept on and deserves some attention. Great album front to back in my opinion. Thanks
November 12, 2019 @ 6:29 am
Hey, thanks for mentioning that one; I didn’t know it was out yet. Enjoyed a couple passes through it and put it on my shopping list.
November 11, 2019 @ 8:07 am
Good, solid country music that speaks to the every-man and isn’t pretentious?
Sign me up.
November 11, 2019 @ 9:10 am
Pretty good album.
Production is too loud.
Too many songs. 12 is ok…but 17?
Song selection is a little bit too one-dimensional.
My highlights: “Refrigerator Door” & “Even Though I’m Leaving”.
November 11, 2019 @ 9:42 am
Keep in mind, the first five songs had already been released as an EP, so only 12 are actually new.
November 11, 2019 @ 11:51 am
You are right. Forgot the EP.
November 11, 2019 @ 10:18 am
Review Ags Connolly album OR WE RIOT !!!!
(when I say “we”, I mean just me; and by “riot” I mean post a somehow mean comment about how upset I am with you, but the sentence still stands)
November 12, 2019 @ 6:55 am
It’s a good listen.
Kinda funny that Apple Music has labeled it as Americana; his style is Country WESTERN as it gets.
Cool Lester Smooth
November 11, 2019 @ 10:58 am
I’m gonna add my voice to the chorus of “Really solid meat-and-potatoes stuff, even if it’s nothing revelatory.”
Not something I’d seek out myself, but it’s absolutely what I’d want to hear if my friends insisted on playing country radio.
November 11, 2019 @ 11:30 am
17 SONGS ???? …WHY ????
I don’t need to listen to them all to know that the record is at least 6 too long . We’ve seen this movie time and time again . It never has the right ending . ..
17 SONGS ????
November 11, 2019 @ 1:52 pm
Well I’m looking at it as a 12 song album like Andrew said because I’ve been listening to the 5 song Prequel EP for like 5 months now and I even threw the soundtrack song “Let’s Just Be Friends” on it to make a nice little 6 song package…..kind of a tide me over til this.
On to my thoughts on the 12 NEW songs I’ve now listened to 3 or 4 times and what some above me said. OlaR I agree it’s loud and thick but not unbearable. Arnold I agree, song structure/melody is a hair repetitive ie: you know when the hook/chorus is coming in and how he’ll be singing it. I’m not loving it yet nor am I disliking it, right now I just don’t like it as much as the 5 Prequel songs. One more reason I’m tired of this releasing 5 songs of a too many (17) song album months in advance shit. Cody and even Miranda did it right, 2 or 3 songs a few weeks ahead is fine. Like I always say…..many more spins to come and I’ll probably make my own version of it. Luke’s still head and shoulders above most of the mainstream. He’s part of the solution not any part the problem.
November 11, 2019 @ 11:49 am
One of the important things about Combs, as well as Pardi and Midland, is the shift of the Overton window on Country.
Radio country isn’t going to be the hardest-edged, countriest, most artistic stuff, and it NEVER HAS BEEN. Guys like Townes van Zandt were always on the outside. Outlaw country was Outlaw because it was fighting against the mainstream.
But when the center-point of the mainstream is focused on Sam Hunt and Thomas Rhett and FGL, that’s bad for the genre as a whole. It pushes traditional country to the fringe, and the really hard-country stuff out of the genre altogether (how many people out there don’t think Tyler Childers is country at all?). Having the mainstream of the genre focused on the center of the genre keeps things more open for all styles.
November 11, 2019 @ 12:31 pm
November 11, 2019 @ 12:47 pm
Why do you use “guns” sometimes and ratings (out of ten) at other times? Thanks.
November 11, 2019 @ 2:24 pm
Because generally speaking I hate ratings, though I recognize they can be helpful to readers. Ultimately it’s the review that encapsulates my thoughts, and I shake up the ratings sometimes just to keep people from comparing ratings of records side by side, or getting too cozy that the rating is all they need to read.
November 11, 2019 @ 4:34 pm
i like this record. for what it is, it’s actually a fun listen!
November 12, 2019 @ 7:10 am
Luke is pretty dam good but methinks the next big star is gonna be Cody Johnson, this year’s best new artist 😉
Atomic Zombie Redneck
November 12, 2019 @ 9:01 am
He’s a likeable guy with a good voice and catchy country songs. I don’t expect anything deep or groundbreaking when I put on a Luke Combs album, and that’s fine. It’s just good country music that’s fun to listen to and sing along with.
November 12, 2019 @ 5:27 pm
I have it 11 because Luke Combs goes to 11.
Streaming is the reason for 17.
Trigger they stayed with the album’s game plan which will no bout have 2-3 more top singles.
He’s been Americana, crossover Pop country and never flinched Bro style. You’ll be hearing ” Blue Colla Boys” forever globally in every gener and dental office.
November 13, 2019 @ 7:24 am
It’s nice to hear a nice light country album you can can just drive and sing along to. I like a good well written song, but sometimes things can be to deep for my good mood if you know what I mean.
November 13, 2019 @ 9:41 pm
was too sappy for me, almost sounds like christian rock. music for the cat ladies to drink wine and cry. the concert has to be boring as hell
November 14, 2019 @ 9:27 am
Eh it’s definitely inoffensive sounding but it doesn’t do much for me. I never played football in high school, gone to prom, had a brother in jail, been best man nor do I have my grannies bible so I guess I’m just not his kind of audience which is cool. I did pawn a guitar but it was less of a noble pursuit compared to the one in the song.