‘I’m the Problem’ Isn’t Just Morgan Wallen’s New Album Title. It’s His Whole Appeal.

In February 2021, Morgan Wallen’s future as country music’s golden goose was hanging in the balance.

First, there were the reports of drunken disorderly conduct during a night out in Nashville. Then, a video of Wallen flouting COVID protocols at a party in 2020 resulted in the postponement of his “Saturday Night Live” debut. But his then-latest incident, in which he was caught using a racial slur on camera, threatened to torpedo his career.

As quickly as the industry had lifted him up as the genre’s next global star, Wallen was disinvited from awards shows, criticized by peers, blocked from radio play, and suspended by his record label. Country music cable network CMT announced it would scrub his appearances from its platforms, saying Wallen’s words and actions were “in direct opposition to our core values that celebrate diversity, equity, and inclusion.”

Then, something happened: People kept listening anyway.

Four years later, Wallen, now 32, is bigger than ever. His 2023 album “One Thing at a Time” spent 19 weeks at No. 1 on the Billboard 200, the longest reign ever for a country album. He went back on “Saturday Night Live,” where his latest viral controversy, in which he walked offstage while the cameras were still rolling, garnered him enough defenders to launch a cheeky merch line. (It’s now sold out.) His new album, “I’m the Problem,” only needed one day to become Spotify’s most-streamed country album of 2025.

These days, it pays to be the problem.

The making and marketing of a modern antihero

Sonically, there’s nothing particularly special about Wallen’s brand of stadium country music. His signature Tennessee twang is pleasant enough, but it pales in comparison to the richness of Shaboozey’s, for example, or the expressive texture of Chris Stapleton’s. The melodies aren’t any catchier than the average single by Luke Combs or Florida Georgia Line, and his lyrics are teeming with tropes: the word “whiskey” is sung no fewer than 18 times on “I’m the Problem.”

In a genre historically obsessed with first-person storytelling and narrative cohesion, Wallen also isn’t distinguished by his songwriting: he’s not listed as the sole songwriter on any “I’m the Problem” tracks, and on 15 out of 37, he’s not credited at all. (Forty-nine other songwriters are credited throughout.)

However, a closer look at the album’s title track and opener offers insight into a core element of Wallen’s appeal. On the taunting kiss-off, addressed to an ex who’s equally flawed but can’t bear to share the blame, Wallen is equal parts self-loathing and vindictive: “You hate that when you look at me, you halfway see yourself / And it got me thinkin’ / If I’m the problem / You might be the reason.”

These themes are woven into the fabric of Wallen’s songs, many of which double as sly implications. He often sings about drunken screw-ups and toxic relationships that paint his friends, lovers, and listeners as co-conspirators, or even instigators. “Don’t Think Jesus,” his first solo release after returning to the spotlight in 2022, makes this theme explicit: “World likes to rear back and throw a few stones / So boy wants to throw a few stones of his own.” In his big hit from last year, the Post Malone duet “I Had Some Help,” Wallen reasons, “It ain’t like I can make this kinda mess all by myself.”

John Malanga, a 21-year-old rising senior at James Madison University, said he likes Wallen more than other country stars because he sees him as authentic: the themes of his music align with his unpolished, unapologetic public persona.

“He recognizes his flaws and yeah, he’s kind of like this young guy who’s a little bit of a douchebag sometimes, but that’s his character,” Malanga said. “It seems like he’s really not afraid of that.”

Devin Selvala, a Boston-based 27-year-old who said she’s been in Wallen’s top 1% of Spotify listeners for at least three years, agreed.

“Nowadays in the music industry, it’s easy to be consumed by the machine,” Selvala said. “He isn’t one that’s willing to be shape-shifted and evolved based on how the industry or how ‘big music’ wants him to be. I think he’s very, ‘Take me as I am or leave me.'”

Still, not everybody has accepted Wallen’s career rebound. When Tate McRae was announced as a feature on “I’m the Problem,” some of her fans objected based on Wallen’s reputation and presumed political views, describing their team-up online as tone-deaf and meme-ing McRae as a MAGA Republican.

The Wallen fans I spoke to were well aware of the singer’s slur scandal and didn’t let it slide, either, calling his language “repulsive” and inexcusable. (Wallen, for his part, said much of the same at the time, instructing his supporters to stop defending him in a video shared online.) But none said the incident ultimately deterred them from enjoying and supporting Wallen’s music, especially following his public apology.

“I know I’ve never called anybody the N-word, but I’ve called people other things and done really crappy things. I think everybody has,” Laragh Thooft, a 32-year-old from Iowa, told me. “I would never stop listening to music that I like, or stop watching a movie that I like, because it’s somebody doing really dumb and potentially hateful things if they’re not seeming to me to be a dumb and hateful person.”

“If we start doing that,” she added, “then we’re just gonna have to listen to only AI music.”

Wallen doesn’t innovate — he resonates

Wallen’s relatability is also bolstered by streaming-optimized savvy.

His music is extremely popular on TikTok, a platform that rewards broad appeal and repetition to serve users content that echoes what they already know and love. To this end, Wallen and his collaborators are masters at integrating other sounds and genres into his well-worn country formula. His songs bear tones of ’70s rock, radio-friendly pop, electronic, and hip-hop, and his duet partners are carefully selected to help legitimize those unions: Hardy (“Come Back as a Redneck”), Tate McRae (“What I Want”), Diplo (“Heartless”), Lil Durk (“Broadway Girls”). Wallen’s most high-profile collaborator in recent years, Post Malone, has achieved similar success hopping between rap, pop, and country trends.

Wallen also releases a lot of music. Like, a lot. “One Thing at a Time” had 36 songs on its tracklist, just one fewer than “I’m the Problem.” Its predecessor, 2021’s “Dangerous,” was a double album with 32 songs total, including bonus tracks.

Wallen is the ideal avatar for an attractive idea — a feeling of freedom, of open roads and judgment-free zones.

Much has been written about the “more is more” strategy that excels in the streaming era, and Wallen is far from the only artist to take advantage of it. But he arguably does it better than anyone else. The proof is in the pudding, which is to say, his chart performances. As of Wednesday, tracks from “I’m the Problem” dominated nearly half of Spotify’s Top 50 in the US, with four of the top five slots. “We see that the demand is there and we are happy to meet that demand,” Wallen said in a press release for the album.

In the process, Wallen avoids disappointing any fans who prefer specific flavors in his sound. It’s a familiar failsafe — something for everyone — and it suits Wallen’s creative process, which he has characterized as relatively directionless. “We just went with our gut. That’s what we do a lot of times, we don’t necessarily have a plan,” he told Rolling Stone of his debut album, “If I Know Me,” in 2018. “Hopefully it sounds good.”

Wallen may not be leading the writing or production of his songs, but there is something to be said for his sonic pliability. Paired with his everyman ease and nonconformist attitude, Wallen is the ideal avatar for an attractive idea — a feeling of freedom, of open roads and judgment-free zones.

After all, Wallen was right: He had some help. His record label resumed promoting his music a few months after he apologized for the slur incident in 2021. Last year, he was nominated for male video of the year at the CMT Music Awards and won entertainer of the year at the CMAs. He’s hitched a ride on a powerful pendulum, one that’s swinging away from DEI initiatives and toward self-styled free thinkers and rebels against social etiquette.

Consider “Working Man’s Song,” a track from Wallen’s new album, which echoes recent anti-establishment, anti-elite hits like Oliver Anthony’s “Rich Men North of Richmond” and Jason Aldean’s “Try That In a Small Town”: “I punch the clock, wanna punch a ticket to New York and punch the boss,” Wallen sings. Never mind that Wallen’s 2023 tour grossed over $300 million, making it the highest-grossing country tour of all time. When he moans about the indignity of 9-to-5 jobs and “underpaid checks,” it strikes a nerve.

For a lot of Wallen’s fans, Selvala theorized, “It’s not just the music. It’s the embodiment, the aesthetic of everything.”

“When I think of country music, I think of long drives, being with my friends, feet in the grass, sunny and 75, beers in the cooler,” she said. “A lot of amazing memories I have over the years, just like being with people I love, have Morgan playing in the background.”

“I’m the Problem” concludes as it begins, with a double-edged confession. In the chorus of “I’m A Little Crazy,” Wallen casts himself as a “coyote in a field of wolves” — scrappy, perhaps, and proud to stand out, yet no more wild than anyone else.

“Yeah, the only thing keeping these tracks on the train,” Wallen sings, “Knowing I’m a little crazy, but the world’s insane.”