5 Takeaways From Post Malone's New Album, 'Twelve Carat Toothache' | GRAMMY.com (2024)

Post Malone may be four albums into his career, but his latest, Twelve Carat Toothache, is the first that's truly written from the perspective of the man behind the superstar alias: Austin Richard Post.

His first full-length work in three years, Twelve Carat Toothache was recorded after Post moved from California to Utah, resulting in a different lyrical path than his previous albums — one that sees Post Malone more vulnerable than ever before.

Yet, the new introspective look from Post Malone still follows the singer's formula of recruiting heavyweight guests. Twelve Carat Toothache sees appearances from genre-bending stars The Weeknd and Doja Cat, new pop phenom The Kid LAROI, rappers Roddy Ricch and Gunna, and one of Post's musical heroes, indie-folk group Fleet Foxes.

Here are five key details to know about Post's star-studded — but highly confessional — new album.

'Twelve Carat Toothache' Is The Sound Of Passion Reigniting

After dropping 2019's Hollywood's Bleeding, Post relocated from Los Angeles to Utah to get away from the music business and city's fast pace. The change helped the anxiety that has been brewing inside him since junior high. However, the move didn't initially catapult him into a new phase of creative productivity.

"For the longest time, I lost my passion for making music," Post told Jimmy Fallon in May. "I lost that drive. But then, there was just one moment that snapped… and I said, 'This is why I'm here. And this is what I want to do, this is what I was meant to do,' [which is] to make, uh, medium music for people to enjoy," he laughed.

Despite the super-personal themes of Twelve Carat Toothache, you can hear the passion that Post regained in his voice and the album's sounds. "Cooped Up" with Roddy Ricch brings the spirit of the party back after staying at home for the last few years, and "Wrapped Around Your Finger" recalls his gift for simple, yet memorable hooks like his supernova 2018 hit "Rockstar."

He's Not Chasing His Next Hit

Five of the Hollywood's Bleeding singles landed in the top 10 of the Billboard Hot 100, including two No. 1s. But as he put together Twelve Carat Toothache, Post didn’t feel the need to repeat that level of success.

"I've made a lot of compromises, especially musically, but now I don't feel like I want to anymore," he told Billboard. "I don't need a No. 1; that doesn't matter to me no more, and at a point, it did."

The album's first single, The Weekend-featuring "One Right Now," is arguably the most radio-friendly track — proven by its No. 6 peak on the Hot 100 — but the majority of the album's melodies aren't so straightforward. Perhaps that was intentional to help put the album's sensitive lyrics at the forefront, like the stripped-back "Lemon Tree" that sees Post exploring extreme loneliness ("Isolation is not good for me/Isolation, I don't want to/Sit on a lemon tree").

Duality Is An Important Theme On The Album

Post looks at various contrasts in Twelve Carat Toothache, starting with the butterfly and knife on the cover art — representing the beauty of pure art and the cutting nature of the music business. As he breaks free from making music that he may have felt pressured to make, Post's lyrical content still explores what it's like to be in both places.

The album also features a themed pair of songs that explore opposite emotions of love back to back: The Doja Cat collab "I Like You (A Happier Song)" followed by "I Cannot Be (A Sadder Song)," which features Gunna.

Alcohol Inspired Much Of The Album — But Differently Than You'd Think

Much of Twelve Carat Toothache touches on his mixed feelings about alcohol, most plainly on "Love/Hate Letter to Alcohol," a collaboration with Fleet Foxes. It serves as another representation of duality: "You're the reason why I got my ass kicked/But you're the only way to drown my sadness," he wails on the chorus.

Post talks about booze with self-deprecating humor on "Euthanasia," though it's still a fairly raw depiction of his relationship with going out. "Behold, a sober moment/ Too short, and far between," he sings on the second verse. "I should crack one open/ To celebrate bein' clean."

Psychedelics Helped His Songwriting Process

The album sounds cohesive as a whole, and that may be due in part to the fact that a lot of the core sounds were made in one go. After recording his other albums in the same small Hollywood studio, Post rented a house on the Pacific Coast to make Twelve Carat Toothache, he told Zane Lowe in an interview for Apple Music.

He revealed that spending time by the ocean — paired with some psilocybin-rich mushrooms, which he told Lowe removed his fears about creating music that reflected himself more — spawned a particularly productive session one night.

"It was 12 hours in Malibu that I sat by myself in this dark room with my laptop and just made beats," he said. "For 12 hours, did a bunch of shrooms, made beats and was like, 'Whoa, this is awesome!' That was the turning point and the album from there just wrote itself."

Combining that spark of inspiration with the ability to fully trust his intuition and let his true self shine through, Twelve Carat Toothache marks an audible step forward in Post Malone's artistic maturation.

Revisiting 'Supa Dupa Fly' At 25: Missy Elliott Is Still Inspired By Her Debut Record

Metro Boomin has spent more than a decade redefining rap music. The gloomy, 808-induced trap beats that flood radio airwaves and blare from nightclub speakers are a symbol of his influence. But now, the Atlanta-based superproducer is on one of his biggest musical runs to date.

In April, Metro released the second of two joint albums with Future, hinted at a third release this year, sold out a concert at the Kundalini Grand Pyramids in Egypt, and clinched the No. 1 spot on Billboard’s Hot 100 with "Like That" featuring Kendrick Lamar. He also delivered a first-of-its-kind instrumental diss aimed at Drake called "BBL Drizzy," accusing the Toronto rapper of going under the knife.

The diss was in response to Drake’s "Push Ups" and subsequent disses toward Kendrick Lamar. "Metro shut your hoe ass up and make some drums" he rapped. The verbal blow inspired Metro to release the hilarious instrumental, which he encouraged fans to rap on for a chance to win a free beat.

Months before the feud, Metro celebrated two nominations for Best Rap Album and Producer of the Year, Non-Classical at the 66th GRAMMY Awards. While he didn’t take home a coveted golden gramophone, the momentum has elevated his career to new heights.

Before the St. Louis-bred producer kicks off the We Trust You tour with Future on July 30, revisit 10 of Metro Boomin's biggest releases.

"Karate Chop" (2013)

A 19-year-old Metro crafted his first charting single right before making a life-changing move to Atlanta. With piercing synths and bubbly arpeggios, the song was the lead single for Future’s highly anticipated sophom*ore album, Honest.

But Metro, a freshman at Morehouse College at the time, wasn’t sold on its success. "I never really like it," Metro told XXL. "Then every time people would come into the studio, he would always play the record and I was like, ‘Why are you so stuck on this s—? We have way harder records.’"

But after cranking out a new mix on the original track, "Karate Chop" went on to become his first placement on a major label album. The remix with Lil Wayne further elevated the record and, by virtue, Metro’s profile as a musical craftsman.

"Jumpman" (2015)

Metro mastered the late-summer anthem in 2015 with "Jumpman." The song was the most notable hit from Drake and Future’s collaborative mixtape, What a Time to Be Alive, and went on to shut down bustling nightclubs and obscure strip joints. And while the record didn’t perform as well as other songs on this list, it secured Future his first Top 20 hit.

The song — which features Metro’s signature bass and a screeching raven sound effect — also saw a streaming boost after an Apple Music commercial featuring Taylor Swift rapping to the song. According to Adweek, the campaign helped generate a 431 percent increase in global sales

What makes "Jumpman" even more special is that a collab between Future, Metro, and Drake may never happen again. Reportedly, the duo is at odds with Drake because the OVO artist decided to link with 21 Savage on Her Loss instead of doing a follow-up project with Future.

"Father Stretch My Hands Pt. 1" (2016)

"Father Stretch My Hands Pt. 1" is the song that set Kanye West’s album, Life of Pablo, ablaze. Opening with a clip of gospel musician and singer T.L. Barrett’s Father I Stretch My Hands,” Metro’s signature producer tag kicks the record into full gear. The pulsating synthesizers and bouncy percussion match West’s raunchy and sexually explicit lyrics.

Metro’s production received significant praise, with several publications pointing to his contributions on end-of-year listings. And in the eight years since its release, "Father Stretch My Hands Pt. 1" has been certified six times platinum by the Recording Industry Association of America, making it one of Ye’s most-sold records of all time.

"Congratulations" (2016)

After the success of "White Iverson," a young Post Malone was on the hunt for the hottest producers in the rap game. He managed to land Metro, who worked with fellow producers Frank Dukes and the prolific Louis Bell on the triumphant trap record "Congratulations."

On a 2022 episode of the podcast "Full Send," Metro revealed that the celebratory song was made after watching the world’s greatest athletes eclipse historic feats of their own. "I remember the Olympics was on TV, and just how the music was sounding, it sounded like some champion s—," he said.

"Congratulations" marked Post Malone’s second Top 20 hit following his debut, "White Iverson." The song was certified diamond after totaling more than 11 million combined sales. Today, it remains one of Metro’s biggest achievements.

"Bad and Boujee" (2017)

Fueled by virality and a shoutout from Donald Glover at the 2017 Golden Globes, the Migos and Lil Uzi Vert’s "Bad and Boujee" landed Metro Boomin his first No. 1 Billboard hit as a producer.

The song has every element Metro fans have grown to love: moody keys, hard-hitting bass, and plenty of room for the artists’ adlibs to pierce through the track.

Two months before its eventual ascension, the song had a steep hill to climb atop the Billboard charts. But Metro’s production and the chemistry between Quavo, Offset, and Uzi helped the record shoot up to its rightful place. It continues to garner praise In the years since its 2016 release, too. It was ranked No. 451 on Rolling Stone’s "500 Greatest Songs of All Time" list

"Mask Off" (2017)

When "Mask Off" dropped in 2017, it scorched the Billboard charts. Hip-hop was flirting with flutes (as heard on songs like Drake’s "Portland" and Kodak Black’s "Tunnel Vision" — another Metro-produced beat) — but "Mask Off" stands out as the biggest song of the short-lived era.

Metro infused jazz-like undertones to perfectly meld the flute lick into the dark and mystic beat. The record led to the remix with Kendrick Lamar, with his verse breathing new life into the already-seismic hit. It’s now certified nine times platinum.

Years after the song’s release, Future said "Mask Off" initially put radio programmers in disarray. In his East Atlanta rapper’s Apple Music documentary The WIZRD, he revealed that the song dropped before Carlton WIlliams’ "Prison Song" sample was officially cleared. "Out of all the songs, ‘Mask Off’ wasn’t even legit," he said. "The s— was on the radio, they’re thinking it’s not a sample, but it got so big they were like, ‘It’s a sample.’"

"Heartless" (2019)

The Weeknd's "Heartless" is a pop and electro-clash classic that fires on all cylinders. The visuals are atmospheric, the lyrics are ultra-stimulating, and the production — partly handled by Metro — makes for a lasting club banger.

The leading single for The Weeknd’s fourth studio album, After Hours, topped the Billboard charts. It marked the Toronto-born crooner’s fourth No. 1 hit and unveiled the depths of Metro’s musical arsenal.

Metro produced four tracks on After Hours: "Faith," "Escape from L.A.," "Until I Bleed Out" and "Heartless." On the latter and in his other collaborations with The Weeknd, James Blake, and Solange, Metro’s creative sorcery was tested. He proved, once again, that he could generate a hit outside the confines of trap music.

"Creepin’" (2022)

After a solid outing on his first album Not All Heroes Wear Capes, Metro returned with another series of hard-hitting records. His second solo venture, Heroes & Villains, featured John Legend, Don Tolliver, Travis Scott, and other premiere artists. But the biggest song to come out of the star-studded lineup was "Creepin’" featuring 21 Savage and The Weeknd.

The only single to Metro’s second solo album struck sonic gold. The Weeknd’s flowy vocals overlay the silky and harmonic record, which transitions to a more trap-induced beat once 21 Savage’s verse kicks in. The remake of Mario Winans’ "I Don’t Wanna Know" was a notable departure from Metro’s past singles, which heavily lean on his trap roots. But it still managed to connect with his audience – and even beyond it. "Creepin" peaked at No. 3 on Billboard, which was Metro’s highest-charting solo record up until that point.

Spider-Man: Across The Spider-Verse (2023)

Following the success of "Creepin’" and his other smash singles, Metro extended his creative powers to the film world. He was given the green light to executive produce the soundtrack for Sony’s Spider-Man: Across the Spider-Verse.

Metro Boomin told Indie Wire that he crafted songs from rough animations and selected scenes "just to get in the world and the story of Miles [Morales] and what he’s going through," He even exchanged phone calls and texts with the film’s composer Daniel Pemberton to ensure the soundtrack and score were on the same accord.

From the classical serenade "Am I Dreaming" to the Latin swing of "Silk & Cologne" and the Timbaland-stomping "Nas Morales," the result was an equally transformative musical experience. Each record ranged in musicality and tone while beautifully complementing the vibrant animated superhero flick.

"Like That" (2024)

"Like That" is easily one of the best beats in Metro’s catalog, and may end up being one of the most memorable. Samples from Rodney O & Joe Cooley’s "Everlasting Bass" and Eazy-E’s 1989 classic "Eazy-Duz-It" shaped the bouncy trap beat, sinister synths, and spine-chilling baseline. But Kendrick Lamar’s verse turned it into a heat-seeking missile.

With the song’s thunderous bass and rapid hi-hats in the background, Kendrick dissed J. Cole and Drake for their recent claims of rap supremacy, particularly on 2023’s "First Person Shooter." The lyrical nuke sparked the Civil War-style rap feud, which led to a seven-song exchange between Kendrick and Drake.

The initial musical blow made the genre stand still. It also led to the massive success of the record, which notched Future and Metro another No. 1 hit song. It also helped the pair’s album, We Don’t Trust You, claim the top spot on the Billboard 200 albums chart.

Inside The Metro-Verse: How Metro Boomin Went From Behind-The-Scenes Mastermind To Rap's Most In-Demand Producer

As the summer quickly approaches, artists from every genre continue to unveil new music for warmer weather. Friday May 10 is particularly packed with anticipated and surprise releases from both emerging talents and established names.

The new albums alone prove just that: pop songsmith Alec Benjamin's 12 Notes, folk-rock band 's The Process, regional Mexican stars Grupo Frontera's Jugando a Que No Pasa Nada, and GRAMMY-winning R&B singer Andra Day's Cassandra, to name a few.

Meanwhile, a big, cool glass of major rap releases is here to help wash down the piping hot Kendrick and Drake beef served up over the last week. Full album releases debuted from Gunna, Chief Keef, and Ghostface Killah — the latter featuring guest spots from Nas, Kanye West, Raekwon, Method Man and more. Hottie Megan Thee Stallion's powerful new single, "BOA", sets the stage for her Hot Girl Summer tour which officially starts on May 14. New songs from Ice Spice, Kodak Black, NLE Choppa, Coi Leray, G-Eazy, Yung Gravy, Ski Mask the Slump God set the playlist for a weekend full of slappers.

There's tons of collaborations, too, including the much-teased pairing of Post Malone and Morgan Wallen with "I Had Some Help," a track that showcases Malone's furtherance into country in a catchy, reflective anthem. But country music lovers also have more to enjoy this weekend: Orville Peck's duets project, Stampede Vol.1, features the likes of Willie Nelson and Elton John," while Scotty McCreery's Rise & Fall and Avery Anna's single "Blonde" fill the fuel tank for a rodeo-ready summer.

BTS's RM delivers another solo track "Come Back to Me" and Stray Kids dropped a new collaboration with Charlie Puth, coming fresh off the K-pop group's appearance at the Met Gala earlier this week. And the electronic and rock scenes are not left behind, with A.G. Cook exploring a new twist on Britpop and Sebastian Bach's release of Child Within The Man.

Dive into today's releases from Megan Thee Stallion, The Chainsmokers, RM, Stray Kids with Charlie Puth, Camila Cabello with Lil Nas X, Post Malone and Morgan Wallen below.

Megan Thee Stallion, "BOA"

Megan Thee Stallion's new single "BOA" continues to play up the themes of empowerment and self-realization that define her current musical phase and comes just days ahead of her Hot Girl Summer Tour starting on May 14. The song's cover art features Megan with a striking snake, a recurring symbol of rebirth that has been significant in her recent work, appearing in tracks like the Billboard Hot 100 hit "Hiss" and the 2023 song "Cobra."

"BOA" is a continuation of Megan's snake-themed narrative, but serves as a saccharine homage to her favorite late-'90s and early 2000s anime and video game classics. The music video features references to Scott Pilgrim, One Piece, Dance Dance Revolution, and iconic 3D fighting games like Mortal Kombat, complete with visuals and Gantz-inspired outfits.

Speaking to Women's Health about her upcoming summer album, Megan discussed the personal growth and renewal she has experienced, inspiring this new era of music. "I was inspired to create this album about rebirth because I feel I am becoming a new person physically and mentally," she shared.

Camila Cabello & Lil Nas X, "HE KNOWS"

Camila Cabello teams up with Lil Nas X for the tantalizing new song "He Knows," delivering a radio-friendly track that's as catchy as it is lustful. The new music mirrors the infectious energy of their recent appearance at FKA Twigs' Met Gala afterparty, where they both were seen dancing the night away behind the DJ booth.

"He Knows" serves as a precursor to Cabello's highly anticipated fourth solo album, C,XOXO, — set to drop on June 28 — and teases a glimpse of Cabello's evolving artistic direction. The single follows on the heels of her recent hit "I LUV IT" featuring Playboi Carti, part of the reimagining of her sound and artistic brand.

RM, "Come Back To Me"

BTS member RM has released a new single, "Come Back To Me," accompanied by a music video. The relaxed track gives fans a taste of his upcoming second solo album, Right Place, Wrong Person, set to release on May 24.

In the song, RM explores themes of right and wrong, capturing the complex emotions of wanting to explore new avenues while wishing to stay comfortable in the present. "Come Back To Me" features contributions from OHHYUK of the South Korean band HYUKOH, and Kuo of the Taiwanese band Sunset Rollercoaster. Additional credits include JNKYRD and San Yawn from Balming Tiger. RM first performed "Come Back To Me" during a surprise appearance at BTS bandmate Suga's concert in Seoul last summer, noting it as a favorite from his forthcoming album.

The music video for "Come Back To Me" was written, directed, and produced by Lee Sung Jin, known for his work on the Netflix show "Beef." The video features actress Kim Minha from the Apple TV+ series "Pachinko" and faces themes of identity and self-reflection, showing RM confronting different versions of himself. Its cast includes notable Korean and American actors such as Joseph Lee, Lee Sukhyeong, and Kim A Hyun.

Post Malone & Morgan Wallen, "I Had Some Help"

Post Malone and Morgan Wallen blend their distinct musical styles in the much-anticipated release of their collaborative single "I Had Some Help." Merging Malone's versatile pop sensibilities while leaning into his country roots with Wallen's, well, help, the duet is a unique crossover that has had fans clamoring to hear more since the two first teased the song earlier this year.

Finally premiering during Wallen's headlining performance at Stagecoach Festival on April 28, the uptempo song explores themes of mutual support and shared experiences, encapsulated by the lyric, "It ain't like I can make this kind of mess all by myself."

The collaboration has sparked significant buzz and showcases the duo's chemistry and shared knack for storytelling. This single highlights their individual talents as well as their ability to bridge genre divides, already promising to be a hit on the charts and a favorite among fans.

The Chainsmokers, No Hard Feelings

Maestros of mainstream emotion, The Chainsmokers continue to master the art of turning personal reflections into global anthems with their latest EP, No Hard Feelings. The six-song project see Alex Pall and Drew Taggart exploring the emotional highs and lows of modern relationships, weaving their signature dance beats with pop sensibilities as they have since 2015's "Roses."

The duo's latest release serves as a soundtrack to both sun-kissed days and introspective nights. The collection includes the single "Friday," a collaboration with Haitian-American singer Fridayy, described by the duo as a direct descendant of "Roses." Other tracks, such as "Addicted," also underscore the Chainsmokers' knack for capturing the zeitgeist of contemporary love and loss.

Kings of Leon, Can We Please Have Fun

Kings of Leon return with their signature blend of rock and introspection on their ninth studio album, Can We Please Have Fun. The LP finds the band infusing their established sound with fresh, unbridled energy, reminiscent of their early days yet matured by years of experience. The album features standout tracks like "Mustang" and "Nothing To Do," which mix playful lyrics with serious musical chops, showcasing Kings of Leon's unique ability to combine rock's raw power with catchy, thoughtful songwriting.

The band is set to bring Can We Please Have Fun to life on their 2024 world tour, starting in Leeds, United Kingdom on June 20 and wrapping in Bridgeport, Connecticut, on Oct. 5. Fans can expect a high-energy series of performances that blend new tracks with beloved classics, all delivered with the Kings of Leon's legendary fervor.

Stray Kids & Charlie Puth, "Lose My Breath"

Stray Kids have teamed up with Charlie Puth for their latest release, "Lose My Breath," a track that blends K-pop dynamism with Western pop flair, written by Stray Kids' own producer team 3racha (Bang Chan, Changbin, and Han) along with Puth. The TK song details a whirlwind of emotions, describing symptoms of breathlessness and heart-palpitating moments encapsulated in the lyrics: "I lose my breath when you're walking in/ 'Cause when our eyes lock, it's like my heart stops."

"Lose My Breath" is described as a "warm-up" for Stray Kids' forthcoming album, set for release this summer. The track further highlights the global appeal of Stray Kids ahead of their highly anticipated headlining set at Lollapalooza in August. It also continues Puth's engagement with K-pop, following his previous work with other K-pop acts including his collab with BTS' Jungkook, "Left and Right," and "Like That," a song he co-wrote for K-pop girl group BABYMONSTER.

Editor's Note: This article was updated on May 20, 2024 with information about Post Malone's collaboration with Morgan Wallen, "I Had Some Help."

Since Post Malone burst onto the mainstream nearly a decade ago, he has continued to flaunt his genre-defying brand of musical brilliance. For his latest venture, it’s time for gold grills and cowboy hats: Posty’s going country.

Though his musical origins are in rap, Malone has seamlessly traversed pop, R&B, and blues, always hinting at his deep-seated country roots along the way. In the last year, his long-standing affinity for country music has moved to the forefront, with appearances at the CMA Awards, a country-tinged Super Bowl LVIII performance, and a feature on Beyoncé’s COWBOY CARTER. Next up, he’ll make his debut at California's Stagecoach Festival alongside some of country music’s biggest names — and pay tribute to some of the genre greats.

While it’s unclear exactly what the Texas-raised hitmaker will be singing, his 45-minute set on Saturday, April 27 is labeled “Post Malone: Performs a special set of country covers.” After years of performing covers for and alongside country stars, the performance is arguably one of the most full-circle moments of his career thus far.

Ahead of his Stagecoach premiere, read on for some of Posty's biggest nods and contributions to the country music scene over the years — that could culminate in his own country album soon enough.

A Slew Of Classic Country Music Covers

Malone has a history of channeling his musical heroes, often pulling on his boots to deliver heartfelt covers. He's paid tribute to country icons many times, including covers of Hank Williams Jr.'s classic, "There's A Tear In My Beer” in a 2018 fan-favorite video.

During a 2022 Billy Strings tour stop at The Observatory in Los Angeles, Malone made a surprise appearance and used the moment to honor Johnny Cash alongside Strings. The pair delivered an acoustic duet of Cash's infamous murder ballad, "Cocaine Blues."

And just this year, Malone covered Hank Williams Sr. during a surprise performance at Nashville's Ryman Auditorium. On April 3, he closed out the annual Bobby Bones' Million Dollar Show with a rendition of Williams' "Honky Tonk Blues."

A Longtime Kinship With Dwight Yoakam

Malone has long collaborated with Dwight Yoakam, marking a friendship and professional partnership that spans his career. Yoakam is a GRAMMY-winning trailblazer known for his pioneering blend of honky tonk, rock and punk that shook up the country scene in the 80's with his blend of "cowpunk."

The pair frequently joined forces on Yoakam's SiriusXM Radio spot "Greater Bakersfield," where one standout 2018 appearance features Malone covering Yoakam's own “Thousand Miles From Nowhere” as the two laugh, strum and belt out the lyrics together in perfect harmony.

On April Fool's Day in 2021, they playfully teased fans with the prospect of a double country album release — which may not seem so far-fetched three years later.

It's fitting that Malone would find such deep inspiration in folks like Yoakam, a man who first rode onto the country scene with a new take on a traditional sound. Much like Yoakam bridged generations with his music, Malone brings a new yet familiar energy to the country scene, embodying the spirit of a modern cowboy in both style and sound.

A Country Tribute To Elvis

Malone teamed up with Keith Urban for a duet rendition of "Baby, What You Want Me to Do" during the "Elvis All-Star Tribute Special," which aired on NBC in 2019. Originally written and performed by blues musician and songwriter Jimmy Reed, "Baby, What You Want Me to Do" was famously covered by Presley and commemorated through Urban and Malone's unique blend of modern guitar-slapping country-rock charisma.

That wasn't Malone's only country collab that night, either. He also covered Presley's "Blue Suede Shoes" alongside Blake Shelton, Little Big Town and Mac Davis.

A Celebration Of Texas With Country Legends

In March 2021, Matthew McConaughey and his wife, Camila, hosted the "We’re Texas" virtual benefit concert, to help Texans coping with that year's disastrous winter storms during the Covid-19 pandemic.

Following performances by George Strait, Kacey Musgraves, Willie Nelson, and Miranda Lambert, Malone — who moved to Dallas when he was 10 — served as the night's final entertainer. He performed Brad Paisley's "I'm Gonna Miss Her" followed by Sturgill Simpson's "You Can Have The Crown" backed by Dwight Yoakam.

A Rousing Tribute At The 2023 CMA Awards

At the 2023 CMA Awards, Malone joined country stars Morgan Wallen and HARDY on stage to cover late icon Joe Diffie‘s “Pickup Man” and "John Deere Green." Malone's first-ever performance at the CMAs felt more like a reunion than a debut, with Malone right at home among his collaborators.

“I’ve manifested this for years," HARDY told Audacy's Katie Neal. "Slight flex here, but I started following [Post Malone] when he had like, 300k Instagram followers. I was on the 'White Iverson' terrain, like the first thing that he ever put out and I was like, ‘this is dope,’ and I've been with him ever since.”

After the performance, Malone hinted to Access Hollywood that it might be the start of a new chapter. When asked if a forthcoming country album would be in the works, he answered, “I think so. Yes, ma'am.” (More on that later.)

A Countrified Appearance At Super Bowl LVIII

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Before Beyoncé announced COWBOY CARTER in a Verizon Super Bowl ad, Malone offered Super Bowl Sunday's first country-themed clue at the top of the night with his tender rendition of "America The Beautiful." Sporting a bolo tie and brown suede, Malone delivered his patriotic performance with a characteristically country drawl while strumming along on acoustic guitar before Reba McIntire's star-spangled rendition of the national anthem.

Malone's performance followed in the footsteps of a long line of country artists who have kicked off the national sporting event, which started with Charley Pride in 1974 and has included Shania Twain, Faith Hill and Garth Brooks.

A Tip Of The Hat To Toby Keith

During a performance at the American Rodeo in Arlington, Texas, on March 9, Malone paid tribute to the late Toby Keith, who passed away in February. After pouring one out and taking a sip from a red solo cup (an homage to Keith's playful hit of the same name), Malone performed a cover of "As Good As I Once Was" for the Texas rodeo crowd.

His TikTok video of the performance quickly garnered over 4 million views, sparking enthusiasm among fans for more country music from him. "Sir. I'm now begging for a country album," wrote one user in a comment that has received over 11,000 hearts.

A (Potential) Full-On Country Album

His much-teased country album may not be too yonder. After confirming that a country album was in the works during a live Twitch stream on his channel, Malone has spent much of this year teasing forthcoming new work. There is no scheduled album release date as of press time, but Malone has shared snippets of new songs including “Missin’ You Like This” and dropped sneak peeks of collaborations with Morgan Wallen, HARDY, Ernest, and Luke Combs.

In February, Malone posted a sample of a collaboration with Combs, "I Ain't Got A Guy For That," the first in a series of song snippets shared across his social channels.

Malone and Wallen have been teasing a collaboration since the end of 2023. After building plenty of anticipation, they debuted “I Had Some Help” during Wallen's headlining set at Stagecoach in April. Officially releasing the track on May 10, the song didn't just prove to be a banger — it debuted at No. 1 on the Billboard Hot 100, and broke the record for most streams in a single week with 76.4 million official U.S. streams, according to Luminate and Billboard.

No matter when the album may come, Post Malone’s Stagecoach set will only up the anticipation for some original country music from the star — and from the looks of it, fans and genre stars alike are more than ready for it.

"All’s fair in love and poetry," Taylor Swift declared when she announced her 11th studio album, The Tortured Poets Department, at the 66th GRAMMY Awards.

Taken from the proverb "All’s fair in love and war," the pop phenom gave us a fair warning: there’s no limit to what she’ll go through to achieve her ends.

On the freshly released The Tortured Poets Department, Taylor Swift has a few things to get off her chest — so much that it required a surprise second record, The Tortured Poets Department: The Anthology, adding an additional 15 songs. The sprawling album is a masterclass in songwriting and so personal that it's analogous to performing a post mortem autopsy; The musical shapeshifter is here to exhume the tortured poets of her past and make peace with them.

In an Instagram post, Swift called the record an anthology that reflects "events, opinions and sentiments from a fleeting and fatalistic moment in time - one that was both sensational and sorrowful in equal measure." With the release of Tortured Poets, "there is nothing to avenge, no scores to settle once wounds have healed…our tears become holy in the form of ink on a page."

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Describing Swift’s work as a collection of tracks about boys and break-ups has always felt underbaked and disingenuous, but much of The Tortured Poets Department is just that. In true Swiftian fashion, she plays on preconceived theories, opting to toy with the five stages of grief — denial, anger, bargaining, depression, and acceptance — after a break-up, bringing listeners along on a peregrination exploring the depths of her relationships and personal growth.

Analyzing her feelings to craft songs is muscle memory at this point, but with every release Taylor Swift somehow does so with a refreshed and reimagined perspective. The stories she shares with her fans in TTPD might’ve made her feel like she died, but she’s a revenant no longer tortured by the whims and words of other poets.

With The Tortured Poets Department open for business, read on for five key points to consider when listening to Taylor Swift’s new album.

It's Much More Than A Break-Up Record

Although the record orbits around a break-up, The Tortured Poets Department demonstrates Swift's ability to shapeshift as a songwriter. A song about a break-up is layered, typically forcing Swift to unveil her own flaws while wearing her broken heart on her sleeve.

The fifth track on a Taylor Swift album is typically the most emotionally cutting, and "So Long London" is no exception. On the standout track, Swift views the loss of her lover and the breakdown of her relationship to Joe Alwyn through the lens of the city they once shared together. It’s a cathartic release for Swift who point-blank notes the pain they inflicted upon her and how, in turn, they ended up just as heartbroken as she is.

The high-spirited "Down Bad" and subdued "The Smallest Man in The World" are two sides of the same coin. The former is hopeful that a love could be reignited, whereas the latter sees Swift at her grittiest, pointing the finger at her former lover. "Smallest" poses a series of questions, accusing her ex of being a spy who only wanted to get intel on her.

On piano ode "loml," Swift looks back at the "get-love-quick" schemes she first wrote about in "Why She Disappeared," a poem for reputation. The poem originally considered the death of her reputation and how its aftermath made her stronger while she was simultaneously nursing a new relationship.

The track has a similar energy to fan favorite "All Too Well," but is even more accusatory — seemingly unlocking another level of her songwriting prowess as she teeters between seething rage and mourning with lines about picking through a "braid of lies" spewed by a partner who "claimed he was a lion" but is really a coward. While Swift is honest about never feeling a loss so deeply, she maturely accepts that the effort she put into keeping the relationship afloat was all she could do. It’s distinctly different from the battles she bravely fought in "The Great War," "Daylight" and "long story short."

She's Grappling With Fame & Owning Her Choices

That Taylor Swift struggles with her own celebrity and the public's perception is nothing new. On reputation’s album prologue, she stated, "We think we know someone, but the truth is that we only know the version of them they have chosen to show us."

On The Tortured Poets Department, Swift has never been more honest about her feelings towards those who claim to know better than she does. On "But Daddy I Love Him," she doubles down on these frustrations, taking aim at self-righteous "vipers" and "judgmental creeps" who condemn her choice of a lover. Swift holds nothing back, declaring "I'll tell you something about my good name/It's mine alone to disgrace."

Swift stated that her life sometimes feels like a public autopsy with people psychoanalyzing her every thought and feeling. Following the release of Midnights and her larger-than-life Eras Tour, Swift’s been in her "glittering prime" despite experiencing her long-term relationship ending and the media hysteria around it would make anyone feel the opposite. "I Can Do It With A Broken Heart" confirms fans' theories that the GRAMMY winner was indeed putting on a brave face.

On "Clara Bow" — a song named for the silent film actress whose public life was so scrutinized that she admitted herself into a sanatorium — Swift sings "Beauty is a beast that roars/Down on all fours/Demanding, 'More.'" Again, Swift plays with the double-edged sword of fame, comparing herself to a performing circus animal — something she sings about in "Who’s Afraid Of Little Old Me?"

Taylor Swift Gets By With A Little Help From Her Friends

Swift has always looked up to and honored the greats in her music and art, and Tortured Poets is no exception. She recruits rock icon and songwriter Stevie Nicks to help build TTPD’s world, and Nicks penned a poem featured in Swift’s physical album. Written in Texas, the poem is "For T and me..." and tells the tale of two ill-fated lovers. (Swift also namedrops Nicks in "Clara Bow," touching on the comparisons made between Clara, Nicks and herself.)

There are two additional guest appearances on TTPD: Post Malone appears on "Fortnight" and Florence Welch of Florence + the Machine is featured on "Florida!!!" (a surprisingly toned-down lead single). Swift particularly shines when paired with Welch, and the soaring "Florida!!!" sees their intertwined vocals creating a sound as infectious as the "drug" they sing about.

J.M. Barrie’s Peter Pan inspired Swift on "cardigan" ("Tried to change the ending/Peter losing Wendy") but now the Lost Boy gets his own track on The Anthology’s "Peter." The ever-inquisitive Swift pleads, "You said you were gonna grow up/Then you were gonna come find me" and confronts this man who wouldn’t grow up. She even puts herself in the shoes of Wendy who waited for Peter Pan to return but has grown tired of waiting.

TTPS Is All Quill And Fountain Pen Songs

A few years ago, Taylor Swift categorized her songwriting according to three writing devices: glitter gel pens for fun tracks, fountain pens for songs using modern imagery and lyrics, and quill pens for tracks with flowery, figurative language. Although devoid of the glittery gel pen songs that comprise many of Swift's hits, TTPD and its accompanying anthology are steeped in fountain and quill writing.

Most of The Tortured Poets Department are fountain pen tracks — thanks to 2024 Producer Of The Year Jack Antonoff’s sleek pop production and synth use. Tracks like "Fresh Out The Slammer" and "My Boy Only Breaks His Favorite Toys" are sharp, snappy, tongue-in-cheek tales of love affairs about to begin and coming to an end with the same sonic exuberance of past Swift & Antonoff songs, like "Out of the Woods" and "Getaway Car."

Tracks on The Anthology, mostly produced by Aaron Dessner, are stripped-back, folk-tinged quill songs brimming with sorrow and harrowing thematics and dives even deeper into her chaotic psyche. "The Prophecy" sees Swift beg to change a prophecy that has been laid out ahead of her — likely stemming from the pressure of being a global superstar when all she wants is to be loved.

This Is The End Of An Era (Or A Chapter)

To her occasional disdain, Swift's highly personal songwriting has created a global obsession with her inner life. Although she's tired of the "public autopsy," Tortured Poets offers her time to reflect on the "events, opinions, and sentiments" over a time that was equal parts transient and transformative.

From her growth from the country-twanged teen singer on her self-titled debut to woman who is fearless in her pursuit of happiness, love, and peace, Swift has transformed time and time again. By viewing her work in eras — or, in this case, a chapter in a book of her life — it’s clear that Swift sees this current chapter of her life coming to a close, turning the last page and no longer longing to look back.

One could argue that Swift is an unreliable narrator, only ever presenting her side of the story. But she says that while considering the pain described on TTPS, many now-healed wounds turned out to be self-inflicted. With these stories immortalized, Taylor Swift has spoken her saddest story and is now "free of it." The tortured poets and poems will no longer take up space in this next chapter of her life.

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