When Midland roared onto the scene in 2016 with “Drinkin’ Problem,” they garnered as many fans as they did media detractors. Cries of inauthenticity abound, as if somehow a group of friends from out West couldn’t move to Texas, sign to a label out of Nashville, then make genuinely enjoyable ’70s-era country without having some sort of illuminati-esque angle. And in the end, all the noise didn’t really matter, because the band rolled on to two Grammy nominations, national tours and an adoring fan base. Their return to the spotlight with 2019’s Let It Roll came without the controversy (or radio support) of their debut, but still with plenty of fanfare. It charted at No. 1 on the Country Albums chart and No. 16 on the Billboard 200, both highs for the band. And it’s not hard to see why Midland has quickly fashioned themselves as a consistent voice in country. Let It Roll is an unapologetic lean-into-everything that detractors accused Midland of “faking.” In other words, if Midland is a ruse, it’s a committed one that’s now generated two thoroughly enjoyable albums. To be sure, there are no surprises, lyrically or otherwise, here. The band again teamed up with writers like Texas native Shane McAnally and Josh Osbourne, who also produced the album along with Dann Huff. Tunes like “Cheatin’ Song,” “Every Song’s a Drinkin’ Song,” “I Love You, Goodbye,” and “Playboys” are exactly what you’d expect if you’ve ever heard a Midland song. And that’s exactly why so many have gravitated toward the Dripping Springs trio. What you see is what you get—seersucker suits, exposed chests, and all.