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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