Album Review – Alex Miller’s “More Country Than You”
Traditional Country (#510) on the Country DDS. AI= ‘clean’
Pshaw. Who does this young man think he is, emblazoning his sophomore album with the proclamation “More Country Than You” like he can just waltz into the country genre, and outbest all the established traditionalists and their superior level of twang? Well, he’s Alex Miller. And as he’s proven during his short but very country career that he’s definitely more country than most all other comers, including mixing in a dash of classic corn pone humor like you hear in his new album’s title track.
When you go listing off the exciting new young traditionalists and neotraditionalists like Zach Top, Spencer Hatcher, Cole Goodwin, Braxton Keith, Jake Worthington, and so on and so forth, don’t flub up and forget Alex. Similar to Jake Worthington, he might have come up via one of those TV singing competitions (American Idol), but he came out the other side with his head on straight and a determination: Make country music that sounds country.
Working with producer Jerry Salley once again, co-writing many of the album’s tracks, and being backed by the likes of Jenee Fleenor on fiddle, as well as Mike Johnson and Eddie Dunlap on steel guitar, the results of Alex Miller’s second record are a super country while making sure to center the voice of this Lancaster, Kentucky native in the middle of it all.
It’s Alex Miller’s use of devastating heartbreak and strong sentimentality chased by silly humor that scratches multiple country itches during More Country Than You‘s ten tracks. He’s joined on the humerous title track by another rising traditionalist in Emily Ann Roberts, who was just nominated for the ACM’s New Female Artist. Then on the album’s other side splitter called “The Byrd,” none other than Tracy Byrd himself shows up to participate in the tribute.
As fun as these tracks are—as is the opening song “Too Much Fun”—this is still a traditional country record. And on brand, there is plenty of heartbreak via songs like “As Far As His Memory Lets Her Go” and “Why Does My Heart Ache.” Interesting to note, there’s also a song on the album called “Second Hand Smoke” that was written by Alan Jackson and Jim McBride, but this is the first official recording and release of it.
When reviewing Alex Miller’s debut album Miller Time in 2022, Saving Country Music observed, “Everything here is so perfectly rendered and every note in its proper place, the music and approach ultimately lacks a distinctive character, beyond Alex’s voice. You just wish there was a bit more grit, sweat, or unique flavor here. It needed a little bit of dirt rubbed on it maybe…”
To be frank, that observation also applies to More Country Than You, though you can’t really point to any specific flaw or wrong decision. And even with the bit of edgy humor with “The Byrd,” it all still feels just a little too safe. This music doesn’t run any red lights and stays squarely in its lane, even when Alex is singing about whiskey-soaked heartache. It’s just a little, well … corny.
But as Walt Disney once proudly proclaimed, “I like corn.” And corn happens to be a cornerstone of the country music tradition. It might be sappy, but the writing and sentiment of the song “Just A Mom” still hits home, and it’s a great song to release before Mother’s Day. And with the final track on the album “The Ones That Take Me Home,” you finally get some of that lived-in grit you’re craving.
It’s young men and women making old-sounding country music that makes you feel warm inside, and hopeful for the future of country music beyond the joy you get from the music itself. Alex Miller certainly gives you that beaming, excited feel knowing that the future of country music is in good hands. And yes, he validates through this album that he’s probably more country that many of you listening out there.
7.8/10
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Purchase More Country Than You /// Stream/download
April 15, 2026 @ 8:51 am
…coloring book country?
April 15, 2026 @ 9:14 am
Too many alcohol references, and a song like “The Byrd” just doesn’t fit that profile. I wanted to call it “Disney country,” but that’s not really fair. This is music for adults that is also family friendly, which there’s nothing wrong with. But there is a lack of an “edge.”
April 15, 2026 @ 6:00 pm
Nerfy-Tonk, but enjoyable, that second video reminded me of Riding my Thumb to Mexico by Johnny Rodriguez,
April 16, 2026 @ 1:47 pm
Where do Coloring Book Country, Nerfy-Tonk, and Corny Country fit on the DDS?
April 15, 2026 @ 6:43 pm
Seen some of the stuff with “edge” you have praised I’d rather listen to this.
Calling traditional country corny guess mainstream labels checks are finally clearing
April 15, 2026 @ 7:29 pm
I’m not calling traditional country “corny” as a whole. I highlighted this album because it’s good, traditional country, even if it doesn’t fit in that “edgy” aspect that so many independent country fans want. It’s hard to not admit though, it’s a little corny in places. But like I said in another comment below, that is part of the country music tradition. There’s a reason Hee-Haw was on the air for 25 years.
April 16, 2026 @ 5:20 am
All he’s trying to get across is that the guy has Theater Kid energy. It makes the mediocre songwriting stand out even more, because his whole vibe matches the corny tone
April 15, 2026 @ 9:11 am
I really enjoy his music. I kinda group him with Drake Milligan as young artists who respect the past, play great music, and are just fun to listen to. Nothing too heavy or deep, but just very listenable and enjoyable Country music! Bravo!!
The future looks bright with these guys!
April 15, 2026 @ 9:22 am
I liked the thing with Emily Ann a lot.
April 15, 2026 @ 12:45 pm
Funny, when I started listening to country radio in 1987–I think the station then was called WYNY–they were playing the then-current single by George Jones, calld “The Bird.” Completely different song from “They Byrd”–it was before Tracy Byrd “existed” in country music–but based on the same underlying joke.
The Jones song only lasted for about two weeks on the station and then disappeared. (It died at No. 26 on the chart.) It was kind ridiculous song, but Jones gave it the perfect reading. There was no video, but a video is completely unnecessary: Jones’ voice and phrasing paints the whole video in your mind–screeching Firestorne tires and all.
https://www.youtube.com/watch?v=FirpJUhrpAY
April 15, 2026 @ 1:04 pm
Not any more corny than Charley Crockett.
April 15, 2026 @ 1:18 pm
Looking forward to listening to this; I’m glad Alex is more or less keeping up what he was doing. His albums are well produced, and with a great voice. I think he would do well with more gospel; his last album closed with a good hymn, and I don’t think this one has that
April 15, 2026 @ 1:21 pm
It might not be AOTY material, but it is probably the most “fun” album to come out this year. Nothing like planting your flag in 1990s country and then adding some concrete to make sure it sticks!
April 15, 2026 @ 3:48 pm
With his body movements and facial expressions, it completely annihilates any seriousness involved in it just looks like he is trivializing everything, potentially satirical, making a joke out of it, etc. I don’t think that my opinions in anything should be taken as gospel because I am often wrong, but this is just the way it comes across to me.
I shouldn’t really feel like Barney might come out from a side door during a country song, but I kind of do here.
April 15, 2026 @ 4:54 pm
“With his body movements and facial expressions…”
Look, I respect everyone’s opinions, but the amount I weighed Alex Miller’s body movements and facial expressions into the conclusions of this album review were 0%. They would be less than 0% if that was possible. None of this is in any way a factor in the album. The only thing it factors into is the video for “The Byrd,” which clearly is meant to be a ridiculous, humerous song, and thus, comes with a silly video. But it’s literally one song from a 10-song album, and the video is not what’s being reviewed here.
So if it turns you off on Alex Miller’s music, I get it. As I said in the review, this music has a corny aspect to it. But it really couldn’t be more inconsequential to the music. If you’ve ever seen an episode of Hee-Haw, you’ve seen exaggerated expressions. It’s quite literally a foundation of country music.
April 15, 2026 @ 10:46 pm
I can see the Hee-Haw comparison, but a Hee-Haw comparison will not ingratiate someone to younger or more serious listeners. I believe that Jerry Reed, Brad Paisley, and Roger Miller got away with having funny songs because they were the lead guitar players as well on those songs; that lends a different level of seriousness to the songs despite the humor. Joe Diffie’s hits were very well-written unique songs with great melodies, but he fortunately got pegged as the guy with those songs.
This is my own theory: Having humor taken more seriously requires a level of sarcasm, slight mean-ness, and sharp dry understated wit to avoid the “aww shucks” corny “here’s the punchline” Hee-Haw humor. I’m not talking about being as mean, irreverent and vulgar as Wheeler Walker Jr or Rodney Carrington. I understand that Hee-Haw was big at the time but that type of humor aged out. Corny songs and corny delivery will die a quick death. ( I think don’t Tracy Bryd and Joe Diffie’s “funny” songs fall into the corny category because the writing and melodies are great)
I like some of Alex’s songs but I will skip ‘The Byrd’…I know it’s supposed to be a “fun” song that pays tribute to Tracy Byrd but songs about songs is an automatic out for me.
April 16, 2026 @ 9:48 am
Don’t forget about Roy Clark; co-hosted Hee-Haw with Buck Owens, great guitarist and one of his biggest hits was “Thank God and Grayhound She’s Gone”.
Comedy has been an integral part of traditional country music almost as long as there has been a Grand Ol’ Opry program.
I much rather listen to songs that are family friendly than many of the coarse language songs that seem to be prevalent today.
April 16, 2026 @ 10:00 am
Yes I am aware Roy Clark. A lot of what was popular then “ages out” as time goes on. It’s a fine line between “novelty” and “standing the test of time.” It’s long been a reccomendation in the Country music industry to not lead off with “bit” songs. It’s a serious risk to being commercially viable. Almost no one under 60 is fondly remembering and rewatching Hee-Haw. Not everyone can create the pure magic that Brad Paisley did on his earlier albums. And it’s not the mid 80’s to 90’s anymore where a Mark Lowry can be successful. Just because something was very popular in a given time period doesn’t mean it’s going to work decades later and be appreciated the same way.
April 16, 2026 @ 2:59 am
I would never imagine you would take someone’s visual delivery into an album review. His delivery does matter though because he is on many many social media videos and that is a large part of music today. I also get what you are saying, but Hee-Haw was another era and corniness was part of that era.
In retrospect I wish I would not have phrased all that in that way because it sounds too harsh. I just think he closes himself off to potential fans.
April 15, 2026 @ 4:33 pm
Sounds like a goofball parody of the already goofball Nashpop of the mid-90’s to me, closely related to Joe Diffie’s and Sammy Kershaw’s embarassing novelities.
As for Tracy Byrd specifically; he knew how to balance the silly tunes with some solid tried-and-true pure country songs. Great voice too. The same cannot be said about Alex Miller.
April 15, 2026 @ 4:55 pm
This wasn’t a video review of “The Byrd.” It was an album review of Alex Miller’s “More Country Than You.”
April 16, 2026 @ 1:30 am
Yep, that’s why I singled out the positive Tracy Byrd remark.
The first half describes the album.
April 15, 2026 @ 4:45 pm
Much like so many of the young neo-traditionalists Trigger noted in this review, I’m still waiting for one of them to either write OR find that “grab you by the throat” song that makes a career.
These “ditties” and paint-by-the-numbers heartbreak drinking songs are fine enough, certainly would take them over whatever slop radio is pushing via Morgan Wallen. But it also makes it hard for any of them to really “pop” or stand out IMO if the songs they are recording feel like they threw some 90’s Country albums into an algorithm and let it go from there.
Makes me wonder if the years of Nashville shoving older songwriters out the door, combined with the current generation of songwriters having come up during the “Sippy Cup Country” of Lonestar or Bro-Country of Luke Bryan and Jason Aldean has just eroded the talent pool so finding said songs is like finding a needle in the haystack.
April 15, 2026 @ 7:28 pm
I dont know him from american idol. I started seeing him on tik tok back when i was doing that. I like his music though i think its just kind of safe as thecsaying goes. I might give this one a listen just for than jackson wriiten song alone.
April 15, 2026 @ 10:07 pm
I really dig the instrumentation on the album. ‘The Ones That Take Me Home’ is my favorite song after a first listen.
Trying to balance humor, wit, and corniness with seriousness is a fine line. I know this guy has deeper musical roots than just having a couple Joe Diffie albums, but I can see how the tonality of his voice makes it too easy to veer towards the “aww shucks here’s some jokes” Country “bit” songs.
April 16, 2026 @ 6:58 am
I saw this guy at roberts western world street party and if your country thats where you should be .He is a hell of a picker and nice singer ,getas the crowd dancin. Two thumbs up in my book .
April 16, 2026 @ 7:28 pm
At Bourbon & Beyond last year in Louisville, I saw Brennan Leigh give Alex a big ol hug when she saw him hanging in the bluegrass tent.
That’s all I needed to know.