Thursday, June 13th, 2019

Morgan Wallen – Whiskey Glasses

Lowkey, no pressure, just have a drink and forget her!


[Video]
[4.57]

Will Adams: A play on the concept of “rose-colored glasses,” sure, but the involvement of alcohol inevitably makes me think more of “beer goggles,” i.e. drinking yourself silly enough that people look hotter to you. It adds an extra bit of odiousness to the song, which is already a tiresome pity party. Shame that it wastes its otherwise sweet arrangement on it.
[4]

Alfred Soto: Poor us, another singer pourin’ their pain into the white linen napkin on our laps. This Voice winner has a decent John Mayer-indebted crinkle, but he ain’t selling a song that he should have had the courage to call “Beer Goggles.”
[4]

Scott Mildenhall: If Shakespeare were doing this everyone would be falling over themselves: metaphorical whiskey eyeglasses as a proxy for the effect of the receptacle kind, something Wallen wants to leave him in a state by which he can’t see, in both a literal and non-literal sense. That’s not even to mention the “heartbreak proof” polysemy and “poor me” homophony. Then again, four centuries of writing have passed since the upstart crow, and musically, the most satisfying bit of this is the coda, which serves as a reminder to listen to “Don’t Let Me Get Me”.
[5]

Edward Okulicz: “Poor me, pour me,” sure, it’s an old pun, but come on, Shania Twain used it just last album. For all that, it’s quite a catchy song let down by the performance — Wallen is too stodgy to sell it as the cornball, well-meaning bunch of cliches it is. Reading the lyrics, I’m completely sure it’s supposed to be hammy, ridiculous fun. In fact, per the lyrics, I bet this song is actually super fun to overact the heck out of this at karaoke, because most country songs about drinking rely on the vibe as much as the voice.
[5]

Joshua Minsoo Kim: The guitars are charming, wiggling playfully as if to capture Wallen’s soon-to-be tipsy state. That the instrumentation constantly crowds the mix helps enliven the song’s familiar conceit, and it all has a subtle glow to it that recalls the allure of a bar’s jukebox, dim (but colorful) lights and all.
[6]

Joshua Copperman: This production is bizarre, specifically on the low end. Joey Moi, usually known for proudly overproduced rock, places the drums (but not the hi-hats) in the back and the bass probably outside the recording studio altogether. That leaves the phasing lead guitar lines and Morgan Wallen’s so-tuned-it-sounds-vocoded harmonies to battle it out, and it weirdly works. Maybe it’s the saturation on the vocals and the way those guitars are panned so hard left and right, but I’ve felt compelled to listen to this song several times because of the mix. Lyrically, it’s uninteresting, with bog-standard wordplay, but musically it’s so weirdly addicting that I can’t give this a bad score.
[6]

William John: Morgan Wallen’s voice is too wooden and flat to convey any anguish. While he might advocate for alcohol as an anaesthetic to the pain of a breakup, in the absence of any discernible sorrow there’s nothing to indicate he wants to do anything more than get drunk with the boys and find his own girl to make out with on the couch right now. The adoption of that tone means that “Whiskey Glasses” is less about heartache and more about revenge, but it lacks any zip or the kind of devilish unscrupulousness that can make such songs engaging.
[2]

Reader average: [8] (1 vote)

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2 Responses to “Morgan Wallen – Whiskey Glasses”

  1. This makes “Up Down” seem like a fantastic jam. :(

  2. Ironically, I think this is a lot better than Up Down. Partly because this doesn’t have Florida Georgia Line on it, and partly because I really like all the double meaning wordplays in this song. I’m also just a sucker for songs about drinking to get over someone, in general. Unfortunately, nothing will beat Whiskey Lullaby in that category.

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