Scooter Lord stretches fabric of country crooning to uproarious extremes
Everybody’s favorite bowl-headed, scooter-riding, mom jean-sporting rock artist is back at it again with another unconventional addition to his discography. Oliver Tree bucked his way into the spotlight with his debut “country” album, Cowboy Tears in February of 2022, launching a tour of the same name through March. Undoubtedly an unusual feat for the 28 year-old artist, Tree marketed his work through appearances on Jimmy Kimmel Live! and a New Year’s livestream hosted by himself. There, he unveiled the album’s headlining piece, “Cowboys Don’t Cry,” which has become the performative image of the work itself.
Tree’s second album features a complete transition away from his signature look, hanging up the bell bottom jeans for a slick denim cowboy hat and converting his famous ski jacket into a fringed, Western-style getup. The album itself initially throws off loyal listeners by presenting itself in a fashion true to its marketing ploy: that of a country work but quickly unravels into a piece true to Tree’s iconic style.
“Swing and a Miss” succeeds the opening hit, reintroducing listeners to the style and tone they love from Turbo, himself. Opening with a soft acoustic guitar, Tree serenades listeners before captivating them, reintroducing his supporting band whilst maintaining a warm tone that contrasts with the lyrics in an effective and impactful way. “Swing and a Miss” is another song Tree prioritized in his marketing campaign, accompanied by a peculiar music video which relies mostly on shock factor but contains undertones about love and fame that are unreachable before plunging below the goofy surface.
“Freaks & Geeks” follows the other two hits, conveying a message dearly important to the performer. Tree makes sure to emphasize the refuge his community remains for society’s “untouchables,” proclaiming that it is these fans that he furthers his career for. Once again opening with that acoustic guitar, the unusual nature of the opening portion contributes to the impactfulness of his message, owning up to his whimsical manner. Despite being extraordinarily catchy, the prudent idea instills a sweet principle that leaves listeners with an inescapable smile.
“Doormat” and “Suitcases Full of Cash” remain two of the most memorable and genuinely catchy songs in his entire career, both presenting intense ear worms to even the most courteous of listeners. Both maintain steady beats with much appreciated authenticity due to the obvious use of real instruments rather than studio effects. The two songs blend together in a pleasant fashion; the only downside to that being a difficulty to distinguish between the two before their distinct choruses. This, however, does not diminish the lasting, pleasant sentiment they distribute to listeners.
“Cigarettes” and “Balloon Boy” highlight a blatant shortcoming in a lot of Tree’s works, that being the actual lyrics. Oftentimes, the lyrics themselves read without fluency and come off as redundant, lacking depth in meaning. Despite his lyrical weaknesses, both remain intense fan-favorites and definite must-listens of the album as a whole.
“Get Well Soon” returns to an Oliver Tree reminiscent of Ugly is Beautiful (2020) and even his works predating that album. Bitter, vengeful, and generally angered, Tree restores the infamous chip on his shoulder, which originally popularized him with a ballad to a recently estranged lover. The heavy and angsty vibe of the piece puts the pitfalls of the relationship on the unnamed second party, despite assuming the blame himself following their separation. The song expresses pain and vexation in a way that could convince any listener of the emotion behind the work.
“The Villain” encapsulates the grace period following the end of a relationship, a vague and deceitful bliss, offset by lyrics advocating against his own demonization on behalf of his ex-love interest. It’s helpless, vulnerable, and a genuine plea, not a bitter work which forces blame onto another. It’s a rather authentic, urgent appeal for his love to refrain from tarnishing his name in the eyes of his peers. The song is relatable and heartfelt, and the emotion shines through the lyrics in a way that will practically force it onto your Spotify playlist.
Oliver Tree strikes back with another iconic installation in his ever-growing discography, an album that replicates the energy listeners admire whilst transitioning into another stage of his unpredictable career, a challenge difficult to pull off within the musical sphere. Cowboy Tears accomplishes just about everything it seeks to and leaves listeners with more stylistic hits from the Scooter Lord to bask in and enjoy. With the successes of this album, it’s no wonder the 28- year-old professional cowboy scooterer has landed performances at venues, such as Madison Square Garden, to renew and advance his unique legacy.
By Hunter Willis
March 18 2022
Volume 118 Issue VI