Album Review: 'MONTERO' Marks the Rebirth of Lil Nas X

Lil Nas X's debut album sees the rapper fully embrace his identity with unmatched artistic vision, emotional vulnerability, and an eagerness to cut through the music industry's red tape.

Written by Kriss Conklin

In 2019, things were simple — the worst season of "Game of Thrones" aired, the wealthy scammed their children into prestigious colleges, and rapper Montero Lamar Hill (professionally known as Lil Nas X) went viral for his country-trap hit "Old Town Road." Those were the good ol' days. From public school PA speakers to the depths of TikTok, the twangy earworm that was "Old Town Road" dominated both the internet and the Top 40 radio air waves. After a record-breaking 19-week reign at the peak of the Billboard Hot 100 and a handful of famous features and remixes, Hill's No. 1 hit finally surrendered to the likes of Billie Eilish and Shawn Mendes.

But "Old Town Road" was just the beginning for the then-20-year-old's career — and served as additional fuel for the criticism and controversy that followed him into the limelight. In the following months, Hill released a slew of catchy, hip-hop singles and his first EP 7, all of which solidified his place in the modern pop scene. However, after the viral whirlwind that catapulted Hill into stardom and beyond, doubts and speculations about his ability to flourish after "Old Town Road" persisted: Was Lil Nas X a one hit wonder or a wunderkind?

The chatter surrounding Hill's career eventually rose to a fever pitch after he came out as gay on the last day of Pride Month in 2019. In an interview with BBC, Hill admitted he was hesitant to reveal his sexuality but felt like he was "opening doors for more people" by coming out. After that, Hill entered uncharted territory: being openly gay and Black in creative spaces predominantly made of straight, cisgender men. It might not have been clear at the time, but Hill's impact was tremendous. He became a figurehead for Black LGBTQ artists, then simply carried on with his life — continuously Tweeting and working out before announcing a surprise pregnancy — as one does.

Finally, on Aug. 17, Hill welcomed into the world MONTERO (stylized in all caps), a healthy, radiant passion project that erases and transcends all previously established notions about Lil Nas X since he entered the spotlight. The album title is a nod to Hill's birth name, symbolic of his maturation as an artist while he embraces his identity as a gay, Black rapper and navigates the music industry without the guise of heterosexual and single-genre pretenses. MONTERO showcases a more vulnerable side to Lil Nas X, both personally and musically. Spanning 40 glorious minutes, the record unveils Hill's more tender and unguarded emotions complete with heavy brass instrumentals, intricate trap production, and big-ticket features.

The album opens with delicate guitar pluckings from title track "MONTERO (Call Me By Your Name)," the first of many bold and uncensored musical expressions of the rapper's sexuality since coming out. Hill references a popular gay film to profess his unreciprocated love and lust for a male interest: "Oh, call me by your name / Tell me you love me in private / Call me by your name / I do not care if you lyin'," he pleads over rumbling bass notes and percussive claps. The most striking aspect of the opening track wasn't just its unabashed display of queerness, but its jaw-dropping music video. Complete with homoerotic visuals, haute couture, and a montage of Hill poledancing to hell to give the devil a lapdance, the visual accompaniment to "MONTERO" preludes the rest of the album: A fearless obliteration of what people have deemed socially acceptable for Hill in years prior.

Themes of male romance and desire are heavily present throughout MONTERO, which further cements the album as an essential part of the true realization of, and Hill's reconciliation with, his sexuality. The rapper also departs from his prior hip-hop and R&B stylings with the pop and rock experimentations of "THATS WHAT I WANT" and "LOST IN THE CITADEL." The former fuses cheery guitars with lonely verses of desire while the latter trudges through rejection and heartbreak against chugging bass notes and whirring keys. Both tracks signify Hill's artistic growth as he leaves behind the safety of familiarity to pursue music true to his identity and newly inspired artistry.

Hill also uses MONTERO to make sense of his life before and after stardom. The slow drum beats and moody trumpets of "DEAD RIGHT NOW" briefly steer the record in a darker, more pensive direction as the rapper condemns the money- and attention-hungry skeletons from his past. The track quickly dissipates into the triumphant brass loops of the bright and braggadocious banger "INDUSTRY BABY." Inspired by rumors of Hill being an industry plant, the song catches the star at his peak: unafraid of calling out critics, squashing rumors, and flaunting his success alongside Kentucky-based rapper Jack Harlow. During the final bars of the song, over a plucky bass rhythm and the same brass loops from its intro, Hill accepts the doubts surrounding his career with echoing vocals: He isn't just an industry baby, he is the industry, baby.

Harlow is the first of a handful of pleasantly surprising, high-profile features on MONTERO. Pop rapper Doja Cat makes an underwhelming appearance in the bouncy trap beats of "SCOOP," while the twinkling keys of Elton John soundtrack the harshly critical verses of "ONE OF ME." Some features leave more to be desired from Hill's collaborators than others (sharper verses for Doja and a vocal showcase from Elton were the baseline expectations), but the rapper's ability to work with such well-known artists for a debut truly attests to his musical influence beyond a country song about cowboys and lean.

The title of MONTERO's standout collaborator, however, belongs to Megan Thee Stallion for her killer verses in the fortune-flexing track "DOLLA SIGN SLIME." The song opens with a scaling brass motif and booming beat. Hill's fierce delivery of sharp-tongued lyrics is commendable on an album where he mainly sings, but it's Meg's flow and literary wit that elevate the track further. On the subject of her own success she smoothly dismisses the critics and naysayers with a single blow: "Damn, watchin' me gotta turn you on / I should have my own category in porn / … / Thick, no add-on prosthetics / Everything about me came from genetics," she declares with pride. Following the release of MONTERO, one of Hill's Twitter followers questioned the final lineup of feature artists, pointing out the absence of other Black male rappers. In a quote retweet, Hill revealed that he tried to get Ski Mask the Slump God on "SCOOP," but other than that, it was difficult to collaborate with other rappers since many didn't want to work with Hill.

In the final third of MONTERO, listeners witness Hill in a rare state: emotionally vulnerable. Since day one of his career he's received endless flak for all his creative expressions, and when met with criticism for his music or his identity, he consistently responds with humor. Hill stands in a shaky position right now: he is a Black, LGBTQ artist at the forefront of the pop music industry's aesthetic and sonic shift. For the majority of the album the rapper confidently flaunts his sexuality and success with swagger and ease, but the chip in Hill's golden armor slowly reveals itself as the record spins on. In "TALES OF DOMINICA," the rapper reflects on a rough childhood with a dim outlook:

I've been living at my lowest, it's safe to say
Hope my little bit of hope don't fade away
I've been living on an island made from faith
Can't go running back to home
I can't face her face

Swelling string melodies intensify the melancholy picture Hill paints, uncovering a new detail about the rapper's early personal life: his firsthand account of his mom's history of substance addiction. In a since-deleted Tweet that the Atlanta Black Star quoted in April, Hill said, "I hate speaking about my personal life, but y'all … don't know how many nights I’ve cried myself to sleep feeling guilty because nothing I tried (helped) my mom." With this knowledge, "TALES OF DOMINICA" adds a heavier, more significant weight to MONTERO. Hill not only acknowledges his emotional wounds in the track, but courageously bares them for all to witness.

The remaining songs of the record are similarly introspective. The softer, withdrawn melodies of "SUN GOES DOWN" accompany Hill's truthful admission of self-doubt while the gloomy instrumentals and staggering percussion of "LIFE AFTER SALEM" depict the rapper at the edge of his rope, wailing at his adversaries to take "What you want from me, yeah."

MONTERO concludes with "AM I DREAMING," a musical contemplation of Hill's album. Joined by genre-fluid songstress Miley Cyrus, the rapper spends the final track confronting the criticisms he's received throughout his career. Hill asserts his unshakable self-confidence and definitive musical impact in almost every MONTERO song, but he embraces all the uncertainties about himself and his music in the closing track. As a final act of unguarded feeling, Hill and Cyrus shed their calm and collected facades to uncover how the condemnation of their identities and musical ventures has affected them. Their lyrics read like a defeated, cryptic goodbye as the duo harmonizes bittersweetly: "These thoughts I thought while sinking down / Oh-oh-oh, never forget me / And everything I've done." Clouded by doubt and in need of reassurance, both singers step away from their fame and success to implore: "Never forget me." Finally, the guitar notes ring into silence, replaced by the sound of a heavy object splashing into water before a prolonged silence fills the speakers.

This quiet conclusion allows listeners to understand MONTERO for what it truly is: an unforgettable culmination of growth and acceptance. Hill has proved himself to be more than just a one-trick pony: He's a pop star of his own kind pioneering the future for LGBTQ and non-white musicians. Ironically, in his debut,the rapper re-introduces his music and himself to the world with flawless creative vision and execution. MONTERO is a mere stepping stone for what's in store for Hill. The album doesn't just showcase Lil Nas X's development and innovation as a musician, but it acquaints listeners with the authentic Montero a little more with every listen.

REVIEWSAfterglow ATXSeptember 23, 2021kriss conklin, lil nas x, album review, montero