Austin Meade's Almost Famous: An Honest Review

Review: Austin Meade – Almost Famous

Snakefarm Music Group (November 7^th 2025)

Reviewer – Chris O’Connor

I should begin by admitting that I came to ‘Almost Famous‘ as a complete newcomer to Austin Meade’s music, with no real frame of reference for his earlier work. My initial reaction, if I’m being candid, was that this sounded like country music filtered through a metal lens – though executed with far more authenticity than the likes of Kid Rock. Even after repeated listens, I’m still not entirely convinced by everything I hear, and as I finish writing this review, I remain uncertain how frequently I’ll return to the album as a whole.

Perhaps this is unfair, but CJ Solar has long set an exceptionally high bar for this style, and it is difficult for others to measure up. That said, Meade’s songwriting ability is immediately apparent. He can undoubtedly craft strong, memorable tunes. Where things occasionally feel dissonant is in the juxtaposition of Nu-Metal, Limp Bizkit-esque riffing with country-rap vocal phrasing. I can easily imagine this resonating strongly in certain parts of the United States – and it seems clear that this is very much the intended audience.

It’s not that I’m instinctively opposed to this hybrid sound. Country and metal have been increasingly intertwined in recent years, often with impressive results. This particular incarnation, however, I find oddly challenging. I freely admit that my own background – middle-class and resolutely English – may leave me ill-equipped to fully appreciate its appeal. I suspect it will connect far more readily with the “Bro-Metal” crowd, a demographic I cannot honestly claim membership of. In that sense, the shortcoming may well be mine rather than the album itself.

That said, there are moments on ‘Almost Famous‘ that are genuinely jaw-dropping. ‘Bottle You Up’ is a bona fide earworm, while ‘Civil War’ is simply brilliant – and I mean brilliant. ‘Honey Do Ya’ is a pop-punk masterclass that would have sat perfectly on one of the classic ‘American Pie’ soundtracks. These are songs I will most assuredly return to. ‘Like Father Like Son’ feels deeply personal, with Meade laying bare his inner self in a way that feels sincere and emotionally effective.

Interestingly, the album’s second half proves far more memorable than its opening stretch – a curious choice in an era where many artists front-load their strongest material. Closing track ‘She Loves Me Not’ is another gem, steeped in that unmistakable American Pop-Punk sensibility. A familiar tale of love gained and possibly lost, it’s instantly relatable and provides a fitting, satisfying conclusion, leaving the listener – myself included – wanting more.

I approached ‘Almost Famous‘ ‘blind’, perhaps expecting something closer to traditional Southern Rock, and my own expectations undoubtedly coloured my initial response. If Country-Rock fused with Metal is your thing, this album will be right up your street. It is never poor; at its weakest it is merely average, but at its best it is genuinely fantastic – and therein lies the album’s central dichotomy.

Fans of CJ Solar, The Cadillac Three, and similar artists will likely find much to enjoy here. As for me, I suspect that with adjusted expectations, a return visit will be far more rewarding. On reflection, I will be coming back to ‘Almost Famous‘ – which, frankly, surprises me. It seems Austin Meade has managed to get under my skin after all … who’d have thought it? Now where’s my long-neglected bottle of Jack Daniels?

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