Monday, September 14th, 2020

Morgan Wallen – 7 Summers

Seven summers ago, when Morgan was young, in love, and probably bopping to something like the new Magic hit “Rude!”…


Alfred Soto: A glance at the lyric should induce shudders, but Morgan Wallen eases into the crinkled fabric with surprising ease. The guitars are real purdy too.

Will Adams: Summer love: not a novel concept but one ripe for sepia-filter reminiscing and yearning for a return to The Way Things Were. Wallen’s take cuts deep: time has passed, we’ve moved and moved on… do you still think of me? I’ve fixated on this feeling enough for several lifetimes, but I can’t shake it. All the one-off dates and hookups and friendly conversations that now exist as threads of connection on Instagram: what memories did I leave them with? Are they enjoyable? Painful? Have they, as things tend to do, calcified into bothersome little embarrassments? Or is it nothing, and this speculation is foolish at best, self-centered at worst? “7 Summers” wrestles with this tension. There’s the arrangement — so soft-rock it sounds like “You’ve Got a Friend” — and the typical summer imagery, both attempting to create that hope that they feel the same. Wallen reaches for it at the start of the chorus, but then he reaches “that boy from East Tennessee,” melody falling like downcast eyes. From there, the reflection turns bittersweet (“dodged a bullet”; “guess you never saw things my way, anyway”), and what started as a cutesy ode to long lost love becomes a painful, but necessary reconciliation with the past and the need to move forward.

Thomas Inskeep: Wallen finally nails it on this dreamy single of reminiscence (formerly Kenny Chesney’s well-staked-out territory) co-written, and well, by Wallen with Nashville’s uber-songwriters Josh Osborne and Shane McAnally. Musically this reminds me of the Urban Cowboy soft-pop/country boom of the early ’80s (and also another Urban, namely Keith), so, I mean: it gets me. I’ve not yet been impressed by Wallen, so I came into this expecting to dislike it, but I can’t.

Katherine St Asaph: I get that it’s supposed to contrast with his genteel lost love — if you want to assume that level of intention and craft to a TikTok by the “Up Down” guy and the sorely-in-need-of-better-QC Josh Osborne and Shane McAnally — but the bro yarl, Auto-Tune, and motormouth topline grind a lovely arrangement into rubble.

Jacob Sujin Kuppermann: I just want to say that if Morgan Wallen sounded like a Midwesterner, this would be a huge fucking hit with the Whitney-Pinegrove-Twin Peaks indie lite rock set. This is a compliment!

Tobi Tella: The hints towards the cliché storm being purposefully immature kept me on board, and it’s undeniably smooth, but it still feels more like conforming to the tropes of the genre rather than exemplifying why they’re still around.

Juana Giaimo: The amount of talented female country artists who have appeared in the past decade or two made many male country artists a little bit outdated. “7 Summers” captures the summer nostalgia thanks to that soft beat and strumming guitar, but Wallen’s coarse voice almost seems a little bit too forced and the lyrics are so basic that are embarrassing — it’s 2020 and all you can think of the future for an ex-girlfriend is she has a big diamond ring, a baby and a big white house?

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One Response to “Morgan Wallen – 7 Summers”

  1. I wanted to make the subhed some kind of dreadful German pun along the lines of “Morgan Wallen, aber wollen Sie er im morgen?” or “Morgan Wallen, aber er im morgen Sie wollen?,” but as we can see, my German isn’t actually competent enough to be engaging in such shenanigans.

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