Benson Boone American Heart

Photo: @bensonboone

Pop patriotism with sprinkles

Benson Boone’s rapid rise to pop stardom has been nothing short of remarkable. Since debuting with the hauntingly intimate “Ghost Town” in 2021, he has gone from TikTok discovery to Billboard chart mainstay. His debut album, “Fireworks & Rollerblades”, reached No. 6 on the Billboard 200 and cemented his status as one of Gen Z’s most emotionally charged voices. Just 14 months later, Boone returns with “American Heart”, a sophomore effort that expands his sonic palette — though not always with the same consistency.

Boone’s star power has only grown in the interim. His single “Beautiful Things” became an unavoidable trending audio, reaching listeners across generations. A highlight of his recent Coachella set saw him joined by none other than Queen’s Brian May — a moment that underscores how seriously the industry is taking him.

But if “Fireworks & Rollerblades” was the result of years of careful crafting, American Heart feels more like a sprint. The album is full of high highs and experimental turns, but it doesn’t always hang together as cohesively as its predecessor.

The opener, “Sorry I’m Here for Someone Else,” is an instant standout — a thumping anthem that sets the tone with arena-sized hooks and confident production. From there, the record leaps across genres with fearless abandon. “Mr. Electric Blue” is a throwback to the synth-laced pop of the early ’80s, complete with a robotic vocal hook that is absolutely fantastic. Boone is clearly aware of his position as the cheesy popstar who does backflips and neatly removes all criticism in the music video, dropping lines like “You know I can’t do that” in response to good songwriting, or “that’s all I’ve ever wanted” when teased about being the most overplayed artist in the world. It’s a move not unlike Sabrina Carpenter’s latest album teaser, there’s sharp irony baked into every Kodachrome-toned frame — except here it’s moustache-mullet, shirtless, ice-cream-licking, backflipping hotness. Their generation doesn’t shy away from criticism — they absorb it, wear it, and turn it into a punchline. If you don’t get the joke, that’s on you. Seriously, check out the video!

Then there’s “Reminds Me of You”, a strange but compelling fusion of piano-driven balladry and megaphone-filtered rap verses. It shouldn’t work, but Boone’s unfiltered delivery sells the drama. “Take Me Home” draws clear comparisons to Olivia Rodrigo’s “Drivers License,” with the same piano and emotional pull. Meanwhile, “Man in Me” leans into his core strength: heartfelt, melodic ballads that let his vocal range shine.

There’s also a clear classic rock influence running through tracks like “Young American Heart” and “Wanted Man.” The latter’s chorus is a full-bodied dance-rock number, complete with deep synths and a perfectly timed bell tone. Boone is increasingly evoking a blend of Sam Fender’s anthemic grit and Sam Smith’s emotional theatrics — an ambitious combo that suits him more often than not.

Still, American Heart occasionally buckles under the weight of its own ambition. Some tracks blur together, and the frequent genre-hopping can come across as disjointed. The lack of cohesion might have been avoided if the album had fewer writers and producers — as there are more of them than actual songs. It leaves listeners wishing the ironically cheesy tone had been more deliberately embraced as a unifying theme. 

A clearer vision or message would have given the album more grounding,  — especially for a project steeped in that dreamy, idealised pop patriotism that dreams in open highways and late-night heartbreaks, not far off from the Party in the USA fantasy. But Boone’s sheer charisma — and that unmistakable voice — keeps the project afloat even in its weaker moments.

Ultimately, American Heart is an unruly, heartfelt, and often thrilling ride. It may lack the polished cohesion of Boone’s debut, but it again proves he’s the master of the ballad and has the best vocal range around. If anything, it’s a bold successful celebration of the cheese; love songs, disco, naked abs and backflips.

We can’t wait to catch him at Mad Cool next!