Post Malone's F-1 Trillion is a genre-blurring success that dives deep into the world of country music while retaining the essence of his signature style. With a star-studded lineup of collaborations, this 18-track album captures the diverse soundscape of contemporary country, infusing it with Malone’s distinctively modern twist. Here’s a track-by-track breakdown and review of the album, highlighting both the highs and the slight missteps along the way.

The album kicks off with “Wrong Ones,” featuring Tim McGraw, a track that immediately sets the tone for the project. The song melds Malone’s melodic rap cadence with McGraw’s traditional country twang, creating an unexpectedly cohesive opener that celebrates the emotional weight of country storytelling. It's a strong start that signals Malone’s sincere dive into the genre.

“Finer Things,” with Hank Williams Jr., continues this momentum. The track feels like a nod to classic country, with a modern production that still lets Williams’ voice shine. Malone’s ability to blend these generations of country into a single track is impressive, making this one of the album's more memorable moments.

“I Had Some Help” with Nashville's favorite "bad-boy" Morgan Wallen stands out as a quintessential example of contemporary country, blending Wallen’s distinctive vocal style with Malone’s modern sensibilities. The track encapsulates the familiar themes of camaraderie and support that are central to many country hits, but Malone’s signature melodic touch adds a fresh layer of depth. The song's production is polished and radio-friendly, with catchy hooks and a driving rhythm that make it a likely contender for airplay. Although it doesn’t push the boundaries of the genre, its accessibility and the chemistry between Malone and Wallen make it a notable addition to the album.

Similarly, “Pour Me a Drink” featuring Blake Shelton adheres closely to mainstream country conventions. Shelton’s gravelly voice and Malone’s smooth delivery create a well-balanced duet that celebrates the quintessential elements of a country drinking anthem. The track is infused with a sense of ease and familiarity, characterized by its straightforward lyrical content and upbeat instrumentation. It’s a classic country song at heart, designed to resonate with fans of the genre and fit seamlessly into the radio landscape. While it may not offer groundbreaking innovation, it effectively showcases Malone’s ability to blend his style with established country traditions, proving his versatility in adapting to various country sub-genres.

Both tracks serve as accessible, radio-ready hits that underscore Malone’s capacity to integrate his modern sensibilities with traditional country elements while not necessarily pushing the envelope of country music.

“Have the Heart,” the much-anticipated collaboration with Dolly Parton, is where the album hits a slight snag. While Malone and Parton are both powerhouse performers, the track struggles to find its identity, wavering between a heartfelt ballad and a pop-infused country track. The blend of their vocals, though beautiful, doesn’t quite mesh as seamlessly as expected. The result is a track that, while by no means bad, doesn’t quite live up to the lofty expectations set by such a legendary pairing.

“What Don’t Belong to Me” is a standout, as Malone takes on the storytelling tradition of country with a narrative-driven song about loss and regret. This solo effort sees him leaning heavily into the genre’s roots, delivering one of the most authentic country performances on the album.

With “Goes Without Saying,” featuring Brad Paisley, Malone navigates another successful blend of styles. Paisley’s guitar work and vocal harmonies add depth to the track, making it one of the album’s highlights.

“Guy for That” with Luke Combs is another collaborative high point, offering a playful back-and-forth that shows off both artists' strengths. It’s catchy, relatable, and destined to be a fan favorite.

“Nosedive,” featuring Lainey Wilson, is a deeply emotional ballad that masterfully explores the theme of finding beauty in life’s struggles. The song’s poignant lyrics, such as “I found God looking for the Devil” and “Chasing a high I couldn't keep forever,” set the stage for a reflective journey through the highs and lows of personal trials. Wilson’s soulful delivery, paired with Malone’s introspective style, creates a harmonious blend that enhances the song’s emotional depth. The chorus, “Sometimes you're driving / Sometimes you're stalling / Sometimes you're flying / Sometimes you're falling / But there's still beauty in the nosedive,” underscores the track’s central message: even in the hardest moments, there is beauty to be found in life’s tumultuous experiences.

However, “Losers,” featuring Jelly Roll, unfortunately, falters slightly. While the track tries to capture the rough-around-the-edges charm that Jelly Roll is known for, it feels a bit too forced, disrupting the overall flow of the album. It’s a song that might grow on listeners over time but initially feels like a slight misstep.

“Devil I’ve Been” with ERNEST and “Never Love You Again” featuring Sierra Ferrell both help to regain the album’s momentum. The former is a dark, introspective track that stands out for its lyrical depth, while the latter offers a hauntingly beautiful ballad that highlights Ferrell’s ethereal consistently stunning vocals.

“Missin’ You Like This,” another collaboration with Luke Combs, is a heartfelt ode to lost love that strikes all the right emotional chords. It’s a classic country tear-jerker, elevated by Combs’ powerful voice.

“California Sober,” featuring Chris Stapleton, might be the album’s crowning achievement. The track blends Stapleton’s soulful grit with Malone’s introspective lyrics, resulting in a song that feels both timeless and entirely contemporary.

"Hide My Gun” with HARDY, however, is another point where the album stumbles. The song’s heavy production feels clunky along its country elements, making it feel out of place on an otherwise well-curated tracklist.

"Right About You" is another solo effort from Malone on the record, and it bleeds autheniticty and the classic Post vocal sound blended with all the right country elements needed to make it a remembered fan-favorite.

The album closes with “M-E-X-I-C-O,” featuring Billy Strings is a delight, blending influences of Jimmy Buffet, Zac Brown Band, and other laid-back beachers with Post's upbeat vocal delivery and that classic Billy Strings virtuosic pickin' alongside it. After one listen, this track is an instant contender for one of the best on the record.

 “Yours,” the next solo track after the Strings collab truly showcases Malone’s versatility. The former is a fast-paced, gulf-inspired track that’s as fun as it is unexpected, while the latter is a heartfelt closer about Post's daughter and fiancé that brings the album full circle.

F-1 Trillion is a daring and largely successful foray into country music for Post Malone. While not every track hits the mark, the album’s highlights far outweigh its few missteps, making it a must-listen for country fans and Post Malone enthusiasts.

Photo Credit: @postmalone on Instagram.