Lil Nas X’s “Montero” – A proud statement of explosive hip-hop and pop

Like a burst of fireworks fired against the waterline of the old heteronormative structures of global music, this is how the new star Lil Nas X has landed with “Montero”, an LGTBIq statement that is also a huge and proud combination of hip hop and pop.

Between clashes with giants of the textile industry like Nike, simulated births, scenes of homosexual sex in his video clips (even with the devil) or monopolizing red carpets like the one at the MET with costumes that claim fluid gender, none of the movements of this young man American has gone unnoticed in recent months.

With wickers like this (and a successful pre-musical past as a “twitterer” that corroborates that he knows how to warm things up) it is not surprising that the media apparatus has ended up turning to Montero Lamar Hill (Atlanta, 1999) in the same way they did in his day with Lady Gaga or Lana del Rey.

His record debut was one of the most anticipated releases of the pre-Christmas season, but it remained to be seen if the rest of the cuts in his repertoire were up to the level of that “Old Town Road” with which he burst through the back door in 2019.

The theme, in which Billy Ray Cyrus collaborated, gave him two Grammy awards and the longest-running number 1 to date in US history, surpassing “Despacito” with 19 weeks at the top. In addition, it allowed him to enter two traditionally conservative (and often homophobic) fields such as “country” and rap.

Very shortly after Lil Nas X made his homosexuality public, first in a subtle way, through the rainbow symbol and inviting his followers to listen to the song “C7osure (You Like)”, about the search for freedom, to break into continuation like an earthquake with his video clips and public appearances.

Music and social discourse have become indistinguishable parts of his proposal to shake the foundations of a society that, from the premise of “political correctness”, believed that all prejudice against homosexuals had been overcome. Nothing is further from reality.

In “Montero” (Call Me By Your Name),” a recent MTV video of the year award and the sweeping first single from this album released in March, Lil Nas X dances naked around a “pole dance” bar as he falls from the sky into the hell, where he seduces the devil himself. Some conservative politicians saw in it a promotion of Satanism.

The controversy returned when last summer he released the video clip for his next single, “Industry Baby”, produced by Kanye West, in which he offered his personal and erotic version of a prison with pink uniforms in which he dances naked (with pixelated genitals). ) along with several men. Nothing that had not already been seen in the field of pop or hip hop (but surrounded by females) without raising so much grief.

“It seems that you only respect gay artists when the gay part is hidden. You don’t like me because I embrace my sexuality instead of hiding it for your comfort,” he argued on his networks, recalling that many other homosexual artists of the past had to embrace heteronormative canons during their careers, but he wasn’t going to jump through that hoop.

From that premise this Friday he released a battery of songs that speak of fleeing, but that only run forward, such as the single “That’s What I Want”, in which he once again reaches into a conservative world, that of American football, to star in a story of passion and love between costumes and places that pay homage to the movie “Brokeback Mountain”.

Based on the no less famous “Hey Ya!” by the duo Outkast, it is a fun and unprejudiced cut like the rest of the album when it comes to combining genres, which has allowed him to recruit an overwhelming list of allies: Miley Cyrus (following in the footsteps of her father a few years ago), the rappers Megan Thee Stallion and Jack Harlow, the new promise Doja Cat and the living legend of Elton John.

With 15 tracks that go by like a shot, notably “Sun Goes Down” or “Tales of Dominica”, the vast majority of critics have agreed that the album’s melodic and arranging fabric is so solid that it deserves a notable and/or outstanding, even if that disruptive discourse did not exist that in a hip hop song allows him to proclaim loudly: “I’m a fagot”.

His ability to sing as well as rap also enables him to broaden his stylistic range to R&B, soul and even flirt with rock on songs like “Life After Salem”, one of the most melancholy on the album, especially all in the second part, where “Void” recalls the struggle against his sexuality and parental rejection and where “Am I Dreaming?” offers a non-concessive finish to the colorín.

Despite everything, or precisely because of it, it is a “therapeutic” album, and this is how its own author indicated it: “I have learned to stop trying to control people’s perception of who I am, what I can do and where I will be. I’ve come to realize that the only opinion of me that really matters is my own.”

Javier Herrero

We would love to say thanks to the writer of this post for this outstanding content

Lil Nas X’s “Montero” – A proud statement of explosive hip-hop and pop


Our social media pages here and other pages related to them here.https://kjovi.com/related-pages/