Bryan Martin, hailing from Louisiana, embodies the classic country artist narrative: a past marked by drinking, drugs, and hardship – the very experiences often fueling compelling country anthems. Signed with Average Joes Entertainment in 2021, Martin is now seeking radio traction, potentially riding the wave of artists like Jelly Roll, who have found success sharing raw, personal stories of struggle and redemption. With such a background, one might expect Bryan Martin Songs to delve into the depths of personal trials and the journey back from adversity. However, “We Ride,” his debut radio single, feels surprisingly generic and unfocused. It awkwardly straddles the line between the popular James Dean-esque outlaw image and cliché-ridden contemporary country, leaving a listener questioning how an artist with such a life story can sound so unoriginal. The result is a lukewarm track, unsure of its own message, and ultimately, a significant underutilization of potential.
The production of “We Ride” unfortunately reinforces this sense of blandness. If you’ve heard mainstream country radio in recent years, the sonic landscape will be instantly familiar: a prominent acoustic guitar strumming the chords, punctuated by deep electric guitars for a touch of supposed grit, basic, predictable drums keeping time, and atmospheric keyboards floating in the background. Minor chords are liberally sprinkled throughout, aiming for an ominous mood, while the tempo drags, bordering on listless. The overall effect is reminiscent of generic background music for a low-budget Western movie, perhaps generated by an AI. Adding to the disappointment, the mix lacks punch and energy. The drums are weak and often buried under the guitars, and the entire soundscape feels lethargic, as if the electric guitars are straining to inject some momentum into a stagnant track. There’s a palpable absence of genuine feeling in the arrangement, contributing significantly to the overall emptiness that permeates the song. Tracks like this demand energy and attitude to captivate an audience, and “We Ride”‘s failure to deliver leaves the listener disengaged and apathetic.
Bryan Martin’s vocals, regrettably, mirror the generic and uninspired production. Even disregarding the fact that his voice lacks the distinctive tone, texture, or compelling flow needed to convey genuine lived experience (“stuff,” as the original review delicately puts it), his primary failing is the absence of emotion in his delivery. Songs exploring hardship and redemption require the singer to take a clear stance: are they wrestling with the pain of self-destruction, or proudly embracing their independence? With Martin, it’s difficult to discern his emotional state. Is he content? Unhappy? Yearning for change? He seems to be trying to communicate something, yet his emotions fail to connect with the listener, as if he’s singing from behind a soundproof barrier. The most prominent impression Martin leaves is that of being “replaceable.” One could easily substitute numerous other artists into this track, and the outcome would be virtually indistinguishable. There’s no element in Martin’s performance that demands attention, leading the listener to tune out by the second verse.
The songwriting in “We Ride” is perhaps its most significant weakness, suffering from an identity crisis. It seems to aspire to tap into the James Dean, outlaw country trend that has gained recent popularity. However, it simultaneously clings to current mainstream country formulas, resulting in a song that lacks direction and impact. The narrator is ostensibly portrayed as a hard-living musician, attempting to project this image in the chorus with references to drinking, getting high, songwriting, and carrying guns. Yet, the first verse descends into predictable, cliché territory: sex with the preacher’s daughter in a blanket in a truck by the creek, accompanied by moonshine – the same tired tropes recycled by countless artists emerging from Nashville’s factory-like system for young male performers. The second verse offers little improvement, mentioning Harleys and a hard-living lifestyle, but then jarringly juxtaposes these with four-wheel drives, Friday nights, and Bud Light. While there are hints of rebellion, they feel superficial and hollow, suggesting the speaker engages in these activities not from genuine restlessness or inner turmoil, but simply out of boredom or lack of alternatives. There are “demons to outrun,” but no clear motivations, no artistic muses, no fresh perspectives offered – just a pervasive emptiness. The narrator proclaims that “the devil’s always along for the ride,” yet fails to articulate why this ride is even taking place. Ultimately, “We Ride” presents a narrative that rehashes familiar themes without offering any compelling backstory or unique insight, resulting in a conversation that lost its appeal years ago.
“We Ride” is, in essence, a poorly conceived and executed track that seems unsure of its own purpose. The songwriting is both scattered and derivative, the production is weak and predictable, and Bryan Martin provides no compelling reason for listeners to invest their attention in his music. There must be stronger Bryan Martin songs hidden within his catalog, and Nashville’s continued promotion of such generic, lowest-common-denominator tracks remains perplexing, especially when the goal is to launch an artist and create a positive first impression. Martin might indeed possess the potential to be an interesting artist, but the crucial question is whether he will ever be given the opportunity to truly demonstrate it beyond formulaic releases like “We Ride.”
Rating: 4/10. We pass.
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