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Yet Lil Nas X’s lyrical confidence is a noticeable and welcome upgrade from 2019’s halfhearted 7 EP. Even more than the Kanye-co-produced “Industry Baby,” the vivid “Dead Right Now” evokes West’s widescreen vision, as Nas offers up an origin story with a hard-nosed chorus: “You know, you never used to call/Keep it that way now/I’ll treat you like you dead right now.” The enthusiasm starts to grate by “That’s What I Want,” a yearning pop-rock song and clear successor to “ Hey Ya!” with a similar call-and-response hook that instantly and regrettably brings T-shirt launchers to mind. MONTERO’s first half is the victory lap, loud with pep-rally pop built on blaring horns, 808s, and boasts. “I wanted to be even more authentic in my music and let people into my life.” MONTERO pries open that door through angsty pop-punk, introspective guitar ballads, and brash pop-rap, making for a mostly filler-free, engaging album that doesn’t seem to reveal the true soul of Lil Nas X, but certainly comes close.
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“The idea of ‘He’s a cool gay person he’s an acceptable gay person,’ I used to see things like that as a compliment, but it’s not,” he told Variety. Lil Nas X has discussed his struggles living in the public eye before. For an artist capable of gleefully reducing online trolls to dust with a single tweet, his anguish is revealing though not altogether surprising. Over polished production largely handled by regular collaborators Take a Daytrip, Lil Nas X flaunts his verve and star power alongside some of the biggest names in pop, all while that sense of isolation lives at the music’s brighter edges. The rollout for MONTERO was a lesson in irreverent marketing made entirely on Nas’ terms, this time with the controversy courted by design: giving Satan a lapdance in a big-budget music video for the title track that ignited delight from queer fans and fury from conservatives making out with a male backup dancer during a performance at the BET Awards that stoked more of the same from those crowds for obvious reasons then, finally, a telegenic spread in People magazine announcing his “pregnancy” with the album that-well, you get it.Īll of the tongue-in-cheek promo leads us to MONTERO, titled after the artist’s given name, Montero Lamar Hill. It’s a jarring perspective to take for one of the most hyped debuts of the year. Even when he’s singing to the rafters, he’s sad as hell. He wants you to know he’s been smoking himself to sleep. Nas maneuvers through different genres in an attempt to unload some of his heavier baggage: A fractured family life and lingering self-doubt from spending most of his years in the closet weigh on the 22-year-old’s mind.
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On his debut album, MONTERO, the country’s most popular gay pop-rap star is quick to let you into this roiling headspace. Having just exposed the racialized gatekeeping on Billboard’s charts, now he was airing out everyone’s homophobic laundry, too.
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Now he was a Black queer man deciding to fully express himself through his music, which made him an easy target for bigots who only knew him through his kid-friendly first single (“i am not gonna spend my entire career trying to cater to your children,” he succinctly replied. In a particularly poignant comment, Lil Nas X responded to a Twitter user who claimed that the rapper "isn't fighting for gay rights" but instead accused him of "marketing the sexual irresponsibility that's causing young men to die from AIDS.The whiplash between public attacks and chart-topping success took its toll, especially after Nas came out while “Old Town Road” was still No. You don't like me because I embrace my sexuality instead of hiding it and never speaking on it for your comfort." Noting that those artists were forced to hide their sexuality, the rapper wrote, "You seem to only respect gay artists when the gay part is tucked away. MONTERO July 24, 2021Īnother user claimed - in a tweet that has since been deleted - that Lil Nas X should follow the example of older queer artists who were "old school" and were seemingly less open about their sexuality. you cling on to your masculinity because without it you have nothing else going for yourself. you don’t like gay black men because you are afraid of black men, as a whole, being viewed as weak.