Okay, this is a trend we need to put an end to quickly before it spreads.
Country music has had a bit of an anger management problem over the last few years, and to be fair there is plenty of stuff to be angry about in the world: For example, Eric Church demanded that country music get back to telling the stories of the downtrodden, and Ashley McBryde wasn’t happy to find someone fooling around with her father. The problem, however, is there are a lot of things that are not worth getting angry about, such as when Jason Aldean, Blake Shelton, and Robert Counts scream about not getting enough respect, or when Tucker Beathard whines about how his ex doesn’t miss him enough. It comes across as petty, immature, and just plain dumb, and that’s why when I first heard Travis Denning’s “ABBY” on satellite radio last year, my first thought was “Please tell me this piece of junk never never never gets pushed to conventional radio.” Unfortunately, the bad news dropped last month, and thus I’ve spent the last month putting off reviewing the track hoping that it failed to crack the Mediabase chart (so much so that I wrote a massive Tenta Brella how-to guide rather than acknowledge this drivel).
Unfortunately, it seems that Parker McCollum (who I’ve also spent the last three months avoiding) has now breached the Mediabase Top 50, which means I’m obligated to discuss and rate his latest single “To Be Loved By You” for my Pulse posts. After hearing the song, however, I realized that this and “ABBY” are pretty much the same track, as they both feature a guy throwing a tantrum over a woman who just won’t do what they want. While the two singers draw different conclusions (McCollum goes all in, Denning walks away), they both have the same insufferable attitude that repulses the listener and makes them actively root for the narrator to crash and burn. These songs, along with the entitled, thin-skinned frame of mind they showcase, need to be deposited in the nearest garbage can.
My contract states that I’m obligated to discuss the production on these tracks, so let’s get this out of the way quickly: Both tracks rely on the same tired guitar-and-drum formula that most of Nashville is using these days. Denning’s track opts for some slicker guitars and effected, synthetic-sounding percussion on the verses (the keyboard is also more organ-sounding, and is actually noticeable at times unlike on McCollum’s track), but the choruses sound like they were recorded in the exact same studio with the exact same band. The tempo and tone of both tracks are eerily similar, and both mixes are completely flavorless, devoid of punch, and completely dependent on volume for any energy they can muster. In other words, this sound is so stock that it should copyrighted by Getty Images—it’s an awkward-fitting default option that does little beyond fill the space between the vocals.
Vocally, Denning and McCollum are some of the latest creations to roll off of Nashville’s faceless young white male assembly line, and neither acquits themselves well here at all. Denning remains a derivative of the Tyler Hubbard coaching tree, and while he actually puts some feeling behind the song this time (as opposed to the lifeless “Where That Beer’s Been”), that feeling is primarily contempt, and he winds up sounding completely obnoxious and unsympathetic as he tries to justify his breakup and ultimately makes the failed relationship sound like his fault. (If this song were a game of Among Us, he would have been voted out immediately for sounding so sus.) McCollum, on the other hand, is a Beathard clone who comes across as completely clueless as he complains about the other person rejecting his advances and swears that he’s all in on a relationship that just keeps falling apart, leaving the audience begging for him to take a freaking hint and leave the other person alone. There are no technical issues with either performance, but both artists showcase exactly zero charm or charisma, leading the listener to root for both of them to receive karmic justice and wind up completely miserable. In other words, these aren’t the sort of tracks you want to drop if you’re trying to expand your fanbase, because you’ll wind up doing the opposite.
But Kyle, I hear you say, you can’t claim these tracks are the same when the writing is so different! It’s true that the narrator in are very different positions: Denning is giving up on a relationship, while McCollum is trying to start one and keep it afloat. The problem is that both stories are underpinned by the same selfish, entitled way of thinking:
- In the case of “To Be Loved By You,” the narrator has unilaterally decided that the relationship will work, and can’t seem to figure out why the other person reacts so poorly to his advances. Bruh, have you ever considered the fact that she’s just not that into you? If you’re wondering “Why do you sleep alone when I know you don’t like it?”, it’s probably because they think that sleeping with you would be worse! When you ask “Will it kill you to tell me the truth?”, my response is “Are you blind?” If they’re “always angry,” “always quiet,” and are “pissed off, hanging up the telephone,” that’s your answer right there: They’d like you to go away, and the sooner the better. It takes two to make a relationship work, and if one person isn’t interested, it doesn’t matter what you think. You need to stop acting like a creep and move on.
- In the case of “ABBY,” my biggest issue is that Denning’s narrator never actually makes the case for his departure, and instead tried to pin all the blame on his ex. He’s as free to walk away as the woman in McCollum’s track is, but doing so by telling his ex they they suck and he’s going to find someone way better is incredibly off-putting and childish. The whole song just reeks of immaturity: The primary issue seems to be that the other person isn’t a fan of Denning’s Bro-Country-esque beer/truck/party lifestyle, and the narrator spends much of the song fantasizing about a imaginary waifu “Abby” (“anybody but you,” an acronym that isn’t nearly as clever as the writers think) who will love everything about him and never ever ask him to change or grow up. The narrator tries to turn the blame back onto the ex, but the charges simply don’t stick: The few mentions of “drama” are never elaborated on, and since when is driving a Honda grounds for a breakup? This guy needs to stop acting like a baby and just slink back into the shadows quietly.
“To Be Loved By You” and “ABBY” are just plain bad, and if I had to choose to hear one over the other, I’d pick Door #3 and just stick a power drill in my ear. Both tracks feature the same bland, unengaging sound, the same annoying vocal performance, and above all the same ignorant belief that the world revolves around them and that everyone else should just bend to their will and be happy about it. The world doesn’t work that way, however, and if Parker McCollum and Travis Denning want to be more than ankle-biters in a Nashville pond that’s already overflowing with artists like them, they need to take a hard look in the mirror, resolve to better themselves, and then strive to do so at every opportunity. If they instead choose to keep shoveling out junk like these tracks…well, I’d rather listen to the freaking Chug Jug song.
Rating: 3/10 for both of them. Get that garbage outta here!