Full Review

Yung Gravy, Serving Country Review

Matthew Raymond Hauri, better known as Yung Gravy, has built a reputation as a quirky and self-aware emcee with a flair for blending humor, nostalgia, and hip-hop. Rising from the digital underground of SoundCloud to achieving mainstream success, Gravy’s career is built upon his ability to capitalize on internet culture and viral trends. His baritone voice and penchant for sampling oldies have given him a unique niche in the hip-hop world. However, his latest venture, Serving Country, sees him stepping into unfamiliar territory with a country-inspired album that ultimately fails to deliver.

Yung Gravy’s decision to pivot into country music was ostensibly driven by his admiration for the genre and his friendships, including notable figures like Shania Twain and Zac Brown. Despite his genuine interest, Serving Country is a mismatched collection of tracks that suffer from a lack of cohesion and authenticity. The album, a 14-track effort that took a year and a half to write, feels more like a forced experiment than a natural evolution of his sound.

The opening track, “My Garage,” featuring Zac Brown, sets the tone for the album with its awkward blend of trap beats and country instrumentation. While the production is polished, the song lacks the charm and wit that characterized Gravy’s earlier work. This dissonance persists throughout the album, with tracks like “Lone Ranger” and “I Went To Jail In Georgia” oscillating between uninspired country clichés and half-hearted rap verses.

“Clementine,” sampling Zac Brown Band’s “Chicken Fried,” sounds interesting in theory but ultimately falls flat. The juxtaposition of Gravy’s rap delivery over a country backdrop feels jarring rather than innovative. Similarly, “White Claw,” an ode to the popular hard seltzer featuring Shania Twain, comes off as a novelty act rather than a serious musical endeavor. Though potentially intriguing on paper, the collaboration fails to resonate on a deeper level.

One of the major flaws of Serving Country is its misguided attempt at authenticity. Gravy’s attempts to infuse personal anecdotes, such as his arrest in Georgia, into his lyrics come across as disingenuous. The narrative lacks the raw honesty that makes country music relatable and the playful irreverence that made his hip-hop tracks engaging. Instead, listeners are left with a series of tracks that feel like a parody of both genres.

Another troubling aspect of the album is the underlying misogyny that permeates several tracks. While previous projects saw Gravy’s humor softening the blow of his often provocative lyrics, Serving Country fails to strike the same balance. Songs like “Back On That Horse” and “Love You For Leavin'” not only lack the charm of his earlier work but also feel uncomfortable and grossly out of touch. The crassness, once part of his appeal, now feels unsettling.

Serving Country shows the perils of genre experimentation without a clear vision or authentic connection to that genre’s musical landscape. Yung Gravy’s attempt to merge his trap roots with country music results in an album that is neither compelling nor convincing. While his foray into country was undoubtedly a bold move, it ultimately underscores the importance of authenticity and cohesive artistry. For an artist who built his career on cleverness and self-awareness, this album is a disappointing misstep highlighting the limitations of his genre-blending ambitions. As Yung Gravy continues to evolve, one can only hope he returns to the strengths that made him a standout figure in the first place. That’s the short of it!