mgk Takes The “Long Way Home” To Find Himself On ‘lost americana’

Every mgk record is a total adventure, but maybe none moreso than his seventh album, lost americana. It’s a dynamic showcase that has officially debuted at #4 on the Billboard 200 with over 40,000 pure sales, which let it top the Billboard Top Album Sales chart. Impressive numbers, sure, but that’s far from the most impressive thing about this album.

lost americana is one of his rawest projects to date, exploring mental health, fame, the state of society, and identity through the lens of a man who has never been more himself. As Kells told Popcast, “There’s no beguiling on this album. This album is not a character.” This is mgk, Machine Gun Kelly, El Pistolero, and Colson Baker in his purest, most distilled form, and every moment of it is an absolute gift.

The last year of our multi-genre king’s life has been a rollercoaster, characterized by flurries of headlines about his relationship, becoming a father for the second time when Saga Blade Fox-Baker came into the world, grappling with his sobriety, the passing of his beloved friend Dingo Trembath (who got to hear the album before he passed), and even being impacted by the Los Angeles wildfires in January, which burned down his favorite recording studio. The record we now know as lost americana came about after Kells spent some time in rehab, embarked on a water fast, and took some time away with his older daughter, Casie.

When I came out of that water fast and got back from the vacation with my daughter, I did not know what I was going to do. But I knew for sure that the music I had made for whatever the album was supposed to be the last two years, I couldn’t stand. So I erased all of it, kept my palms up, and I felt like the Akashic records just sent me some downloads, and I started making lost americana. The exploration was, ‘we are not gonna pick any genre, we are going to make this freely.’

mgk on Popcast 

With so much uncertainty surrounding his present and future, Colson naturally gravitated to exploring the past. A simpler time before the internet made it easier than ever to broadcast your opinions, throw negativity toward people you’ve never met, and doubt yourself. He landed on Americana, which celebrates American history and the idea of the mythical American Dream that allows anyone to achieve their goals if they put in the work. It’s usually associated with the 1950s and ‘60s, a time that also celebrated the “nuclear family” structure that includes two married parents and their children. Of course, that ties into the family and home themes that come up.

Though there were hints of it on ‘Lonely Road’ with Jelly Roll last year, and even at Kells’ birthday party in April, our true introduction to the Americana theme came in the form of a cinematic trailer narrated by Bob Dylan. Yes, even as internet trolls are constantly making fun of him, mgk is still getting cosigns from people like the Bob Dylan! 

lost americana is a personal excavation of the American dream. A journey to find what’s been lost. This album is a love letter to those who seek to rediscover. The dreamers, the drifters, the defiant. It’s a sonic map of forgotten places, a tribute to the spirit of reinvention, and a quest to reclaim the authentic essence of American freedom. From the glow of neon diners to the rumble of the motorcycles, this is music that celebrates the beauty found in the in-between spaces where the past is reimagined and the future is forged on your own terms.

Bob Dylan in the lost americana album trailer

Along the way, mgk makes fun references to American music icons – for example, the ‘sweet coraline’ title parodies Neil Diamond’s ‘Sweet Caroline,’ while ‘starman’ nods to Red Hot Chili Peppers’ ‘Californication’ and interpolates Third Eye Blind’s ‘Semi-Charmed Kinda Life.’ This pattern cleverly brings you to place him in that lexicon of music legends on a psychological level, in case you didn’t already think of him as a legend in his own right. He’s ready to prove he’s worthy of going down in music history and can add his own flair to things we already love.

The album kicks off with the two-part epic ‘outlaw overture,’ and we meet mgk where he’s at before he takes us on a little road trip to an easier time as the sound shifts. It’s almost like the first half of the song comes from his past self – the guitars remind us a bit of ‘wwiii’ and the “all of the pages are blank ‘til my life goes to sh*t” line directly parallels “my label hates that I’m like this, I gotta go through sh*t to keep writing” from ‘all i know’ – and the second half is from his current self, wanting to escape and head down a “one-road highway” that will change his life while making him feel as effortlessly cool as Old Hollywood icon James Dean.

We’re also introduced to one of the biggest motifs on the record, which is references to small towns or hometowns. As he’s become more successful, Kells has been able to travel the world and perform in some of the most incredible cities. Small towns become a symbol for our purest selves and his past as he faces it, and we’re led to wonder, how much do you owe to who you used to be? How much do you owe to the situations that shaped you? What happens when you want to change? Do you bring your past with you, or does that stifle who you’re becoming?

“I’m gone by the time they come back
This route is a one-road highway
Same face with a brand new wardrobe…”

After daydreaming about “somewhere cheap where the livin’ is easy,” Kells seemingly takes us there on the album’s lead single, ‘cliché.’ It’s deceptively upbeat, but we’ll come back to that later. Between the pure pop sound, purposely cliché lyrics, and the choreography in the music video, it’s like a time capsule back to the ‘90s boy band era, arguably one of the best times in American music history.

Interestingly, the music of that era can sometimes feel inauthentic and commercialized, not letting group members’ true personalities or musical identities shine through. Justin Timberlake told The Hollywood Reporter in 2017 that he left *NSYNC because “[he] felt like [he] cared more about the music than some of the other people in the group. [He] felt like [he] had other music [he] wanted to make and that [he] needed to follow [his] heart.” mgk has been open about his love for ‘90s boy bands and even did a freestyle over *NSYNC’s ‘Bye Bye Bye’ to tease the pop influences on ‘cliché’:

“I’m sober now, but the next single gon’ pop like pills
Come out singing like I’m Justin Bieber…”

Though he might theoretically be putting his identity and individuality aside for a moment, mgk successfully completes his mission to “create nostalgia” and gives us a boppy song to dance around our living rooms to as if we were back in our childhoods. It makes us wonder how he feels about the “leaving the past behind” conflict that we discussed earlier. On the surface, it seems like he’s shedding that past, but is he doing that to have fun for a moment or subconsciously trying to conform?

Colson wrote ‘dont wait run fast,’ formerly known as ‘run rebel run,’ after performing at the Kansas City Chiefs’ 2025 Super Bowl party. Had they won the Super Bowl, they would have been celebrating, but isn’t an exclusive mgk performance kind of better than a win anyway? He shared with ESPN, “I went into the studio and I was like, ‘we need one of those guitar riffs that can bring life to something that there is no life in anymore.’”

The song plays on that same twisted sense of victory or a lack thereof, contrasting an exhilarating rock instrumental with some pretty dismal lyrics. “You want this, you got that” reminds us of the “they wanted them, but they got us” lyric from ‘papercuts,’ which touches on his rise to the mainstream music scene. If you’re listening casually, you might hear this line as someone telling another person that they’re getting what they want, which feels more aligned to the empowering vibes of the production. But listening closer, this lyric and the one from ‘papercuts’ both describe someone getting something other than what they really wanted. He seems to purposely move too fast for you to process the sadder meanings of each line, with each lyric feeling like a rapid-fire that reflects how quickly the world around us moves while we try to process our struggles and the barriers keeping us in place.

‘dont wait run fast’ also seems to explore why the spirit of Kells’ americana and simpler times got lost in the first place. “Everyone’s equal ‘til it’s time to divide” comments on how much division and hatred is present in the U.S. and worldwide in a time when we need hope and unity more than ever. “I wasn’t raised by a millionaire” highlights the differences between social classes and how hard some people from lower ones have to work to get the right opportunities. “I can’t be saved by a digital prayer” might be a call for people to take actual action to make a difference in society and the lives of people around them. 

But it notably closes with some more upbeat energy: “open your hand and kiss the sky.” mgk’s 2017 song ‘Kiss The Sky’ has long been a fan favorite because of its emphasis on finding meaning in life despite the things bringing you down. He told iHeartRadio that “the best way to describe ‘Kiss the Sky’ would be, ‘don’t be afraid to go search, even if you don’t know what you’re searching for. Let something find you.’” We need to be willing to search for the americana and hope we lost if we ever want it to come back, and he’s reminding us that we should be open to the possibilities and potential we have available to us.

The darker moments of ‘dont wait run fast,’ including drug use and feeling unfulfilled in life, come to a head on ‘goddamn,’ which sees Colson reflecting on his unhealthy habits and thought patterns. He describes himself as a “functioning junkie turning [his] life around,” and you root for him to truly turn his life around like he deserves to. You want him to believe in himself the way that EST has always believed in him.

You might take the chorus as Kells talking to a loved one or partner, but we think it’s him talking to his past or inner self and thinking back on times when he could’ve taken action to change his mindset sooner. “Goddamn, thought we had a chance,” he muses. “Slipped right through my fingers when I had it in my hands.” It reminds us of a key line from 2024’s ‘don’t let me go’: “I was supposed to die at birth, gave me a chance and I f*cked it up, give me another one.”

Where ‘dont wait run fast’ concludes with an upward turn, ‘goddamn’ sees no resolution, with Kells admitting to his self-sabotaging patterns and that he’s sick of who he is. He confesses, “see something pretty, then I look too close. Do something sh*tty so my darkness shows. Push you away ‘til you let me go.” The “I don’t think I’m ever going home” line ties into the hometown motif and how mgk isn’t sure if he’ll ever go “home” to the person he’s meant to be at his core. He’s scared that he’ll be drawn to these patterns forever and won’t outgrow the “darkness” that drives certain actions.

It’s clear, though, that mgk very much wants to change and evolve. Within the tracklist, this deep desire shows up in his choice to place ‘vampire diaries’ right after ‘goddamn.’ We initially interpreted ‘vampire diaries’ as being about his experiences with his mental health, sobriety, and fame, but it also describes his experiences in rehab towards the end of 2024, adding another layer to an already intricate story. 

Kells likens himself to a vampire who can’t do “normal” things like stepping into the sun or drinking what he wants, making for a powerful metaphor that people in all sorts of situations can relate to. He was “born to fly” and lives a life with several advantages, but he “would die to run” and envies certain aspects of a regular existence. A seemingly simple song becomes a clever, thoughtfully coordinated allegory that so many listeners unfortunately won’t give proper consideration to. And that’s kind of exactly the point.

For example, let’s take a look at his desire to be “walking in the daylight” with those different layers in mind. Vampires can’t walk in the sun unless they’re a Daywalker, which is also the name of an mgk song featuring CORPSE that talks about the challenges of his self-improvement journey, written and released after he started going to therapy. From a mental health standpoint, leaving the house can be difficult for people with conditions like depression or anxiety, and he calls himself agoraphobic on the later track ‘tell me whats up.’ It’s especially difficult when you factor in the fact that he’d be easily tracked down by paparazzi or fans thanks to his famous status. On the rehab front, he describes being “trapped in [a cell]” later when he dives into the story on ‘treading water,’ so he probably couldn’t get fresh air. 

To understand mgk’s music and the creativity behind it, you need to be willing to sit with it and go beyond the surface of what you assume or expect. Some will shrug aside the meaning of his work and say it’s shallow or unoriginal, while others will tell you he’s an artistic mastermind who purposefully plays into and subverts expectations. No matter which end of that spectrum you consider yourself to be on, there’s something to be said for taking things slow and really processing what you’re hearing in a time when we can listen to seconds-long snippets of songs or loud opinions on why those songs suck in the span of a few scrolls.

Colson Baker has never been more ready or willing to subvert expectations as he is on lost americana, and ‘vampire diaries’ is a wholehearted reflection of that. On the bridge, he sets aside the consequences and is ready to chase what he wants even if he “shouldn’t.” Actually, especially when he “shouldn’t.” His vampire character takes us on a little eff-it journey: “I let my fangs show, smile for the cameras. Cut both my wings so no one can tell. Find me in twilight turning to ashes. If it’s my last breath, I’m happy as hell.”

Even if it kills him, or the person he was before, he’s determined to continue his journey to self-realization. He knows it’s never actually “too late to turn around” and that it’s time to hit the ground running to get to where he wants to go.

mgk puts aside his fears of going into the sun or finding a new light within himself on ‘miss sunshine,’ which offers a short break from the more challenging themes of the past few songs. It’s a sun-soaked anthem that celebrates making the most of every moment and enjoying the little things despite the harder aspects of life creeping up on you. He thinks back to feeling like “royalty in a cheap hotel” and taking road trips with his friends, basking in the sunshine that simple memories and experiences can bring.

It seems that reflecting on these times helps Kells realize what he really wants his life to feel like: fun, light-hearted, and grounded with the people he cares about most. He acknowledges that “it’s a long way home [and he doesn’t] know which way to go,” but he knows that the journey will be worth it. The song closes with the line “I’m on the highway, I got to move on,” suggesting he’s starting that ride home and moving forward for good. 

But he also recognizes that “moving on” means processing some of the things he’s been through to make room for new mindsets and growth. As a result, the rest of the album touches on some of his pet peeves, deepest fears, and the mistakes he regrets most so he can learn from them and move forward.

In the midst of his journey looking inward, mgk gets an unfortunate reminder that it’s not always sunny in the spotlight. He told Popcast that ‘sweet coraline’ was inspired by a girl running up to him in public and asking, “how did you fumble Megan Fox?” shortly before a taxi almost hit her. Kells and a friend pulled her out of the way and Travis Barker suggested turning it into a song when he told him the story. The result is like a lost americana equivalent of ‘wwiii’ or ‘mainstream sellout,’ calling out people who treat him like less of a human when they only know him from snippets of headlines.

“Lately, people talk like I don’t have a brain
But both my ears hear all the words you’re saying
When you’re out with your friends at the bar
And you act like you aren’t who you actually are…”

The pun in the ‘sweet coraline’ title also gives us a deeper feel for what americana truly means to Kells. He distorts the name of Neil Diamond’s American classic ‘Sweet Caroline’ while describing a classic case of someone passing judgment without knowing the details or intricacies of his life. The darker moments of pursuing his dreams and living in the public eye are the moments that he’s lost touch with the freedom associated with Americana and the American dream, as well as the more carefree feelings he explores on ‘miss sunshine.’ 

‘indigo’ takes us back to the Hotel Diablo era for a little while, starting with phem’s vocals harkening back to ‘5:3666.’ The “things I manifested, I wish I never wrote” line might be referencing how mgk’s dad passed on the album’s first anniversary, after he wrote “doctors told my dad he won’t be here a year from now” on ‘Death In My Pocket.’ He changed a lyric on ‘Glass House’ to “girls in my life got motives like Anna Nicole” for the Sad Version in 2024, tying into “I start by reversing some of the words I wrote.”

Speaking of ‘Glass House,’ one of the most impactful parallels gives us a less devastating ending to a line from the vulnerable second verse. ‘Glass House’ includes an anecdote about how he “put [his] daughter to bed then attempted to kill [himself] in the kitchen,” with the daughter in question being Casie. On ‘indigo,’ he reflects, “put my newborn daughter to bed at eight, then I’m back on the interstate chainsmoking, looking like I’m about to hyperventilate.” He’s in less of a crisis, but still struggles as so many people do while finding themselves and their peace.

Returning to these ideas reflects how the past and certain thought patterns can still follow you through your healing journey. He admits that he “can’t outrun it,” in line with the album’s running motif and also approaching an important moment of his growth. He’s not looking for some kind of magical solution that will take away all his pain, but instead recognizes that he has to make peace with it to be able to move forward. He’s ready to take action for his legacy – “without a cause, I know I’m f*cked up” acknowledges his drive to make a difference while paying homage to James Dean’s Rebel Without A Cause, tying back to the Americana theme and the Dean reference on ‘outlaw overture.’

And as he comes to accept this, he’s coming back to himself: “I’m halfway home.” 

The path to your ideal self never comes without some winding roads, and Kells reflects on some of those challenges with ‘starman.’ As we touched on earlier, the song references Red Hot Chili Peppers’ ‘Californication’ and interpolates Third Eye Blind’s ‘Semi-Charmed Kinda Life’ – he draws from the way ‘Californication’ describes the downsides of Hollywood and how ‘Semi-Charmed Kinda Life’ explores drug use to cope with a life that’s not as “charmed” as it may look on the surface.

This song sees mgk pausing from his self-improvement journey for a moment to be honest with himself about his present struggles. “Tryna understand who I am’s so overrated,” he vents before describing some less-than-ideal habits he’s fallen back into. We also get a bit of context on what pushed him to feel that way, but we’ll avoid speculating on any specifics: “I know your friends don’t like me, and you’re unlikely to think I could change ’cause you know I’m born hopeless.”

Though ‘starman’ might come off as a backtrack, it doesn’t erase the growth and evolution he’s had thus far in the story. He’s grown enough to be honest with himself and others about the place he is in, which shows how much he’s deepened his understanding of himself and his triggers.

That honesty comes through again on ‘tell me whats up,’ as Colson comes to terms with his past and the mindsets he gets trapped in. Through lines like “I’m reminded that the voices I silenced are still coexisting,” he uses the first verse to reflect on his past and how it’s shaped him. The second verse focuses on his ambition in his artistry and the lack of recognition he truly gets from the media and public: “they skipped the body of work because of how I’m dressing. At least my public crucifixion got the message spreading.” 

The third verse brings us to the present and spotlights the things Kells really finds important as he expresses his gratitude for therapy and his XX family. It doesn’t erase his past but coexists with it, and he’s learned to honor both his current identity and the things that have shaped him over the years. Finally, he closes the song highlighting the fact that he made lost americana in his living room with close friends, even specifically shouting out his drummer, Rook! 

Given the album’s themes of escapism and running away, it’d be fair to assume ‘cant stay here’ is about getting out of a dead-end town in pursuit of something better… but Mr. Colson Baker decided to rip our hearts out and stomp all over them instead. The song captures a night out that isn’t nearly as fulfilling as it looks on the outside. “No one can see the me that I hide,” he admits, almost like he’s purposely hiding his sadness behind parties and bar trips to seem like nothing is wrong. 

We think the first two lines of the chorus are someone, probably a partner, saying to Kells, “I don’t care where you go, but you can’t stay here. I don’t need to know where you disappeared to.” As a result, he heads out and back into a scene and headspace that winds up hurting him in the end. Interestingly, “someone turn the lights on” directly contrasts “someone cut the lights off, please” from ‘die in california,’ which talks about wanting to escape from the glitz and pressures of being famous. He’s talking about a closing bar or location turning the lights off to close, on a literal level, but there’s a cry for attention in a way when you take it in hand with ‘die in california.’ It’s as though he wants to put on an act to make people think he’s okay when he’s deeply hurting.

“5 AM, no one’s home, is this my fault?
Sleep with my phone on loud hoping you’ll call
But it’s silent, why can’t I accept that you won’t?”

To bridge the overlapping themes of the final two songs and to avoid too much speculating on personal matters, we’ll be discussing ‘treading water’ and ‘orpheus’ together. These are two of the most introspective and most beautiful tracks mgk has ever released, opening up about a rough time within his relationship and family dynamic. Both songs take some inspiration from a piece in Megan Fox’s poetry book called ‘Prove It, Orpheus,’ as pointed out by the Megan Fox Italy fanpage. Megan’s poem discusses her desire for her own “Orpheus” to show how much she means to him and how devoted he truly is.

Within the poem, Megan writes, “when they ask you what is your biggest regret, don’t write it in a song. Cut yourself open and write it in blood.” Colson directly parallels it in the first verse of ‘treading water,’ singing, “echoes of your words saying, ‘Don’t write a song for me.’ Everything is wrong in me, raised under wings of demons. And even if God’s with me, without you, I have no reason.” He goes on to express his regrets in their relationship and how they’ve impacted their connection and children, as well as opening up about his stay in rehab and how attention from the media and public have complicated an already difficult situation. 

There are some self-deprecatory lines throughout ‘treading water,’ but ultimately, Kells stays strong and realizes that he can turn things around instead of remaining in an unhealthy place. He triumphantly raps during the bridge, acknowledging his growth and willingness to evolve. The contrast between “redemption” and “damnation” initially makes you think he might give in and throw in the towel on his self-improvement journey, but he ultimately chooses redemption and knows he deserves to get better:

“It’s a long road to redemption and a shorter one to damnation
I know which one is my destination, but the journey doesn’t come without the frustrations
Like it doesn’t come without the temptations, and failure can lead to an elevation
‘Cause sometimes you gotta see what’s waiting on the other side
And know your soul’s worth saving…”

Sonically, the guitar and some melodies on ‘treading water’ draw from ‘Iris’ by the Goo Goo Dolls, which mgk covered with Julia Wolf in the lead-up to lost americana. Whether it was an intentional connection or it was just a song Kells listened to a lot during this time of his life, we definitely see some ties to the story he’s telling here, as well as some lyrics: “You’re the closest to heaven that I’ll ever be and I don’t wanna go home right now.” “The moment of truth in your lies.” “I don’t want the world to see me, ‘cause I don’t think that they’d understand. When everything’s made to be broken, I just want you to know who I am.” 

‘orpheus’ returns to Megan’s ‘Prove It, Orpheus’ poem – and she has a writing credit on the song since Kells took inspiration from letters they’ve written to each other – but it also draws from the Greek myth of Orpheus and Eurydice. Orpheus was a musician and Eurydice tragically passed away from a snake bite. He ventures to the Underworld to get her back and makes a deal with Hades that he can do so if he walks her out without looking back at her. Depending on which version of the story you read, Orpheus either can’t hear her footsteps and looks back to check if she’s actually there, or hears her trip and looks back to try to help her. He violates Hades’ rule for the journey either way and loses Eurydice all over again.

“Eurydice died from a viper
The girl Orpheus knew he’d die for, go to the Underworld and fight for
‘Cause life’s just death if I don’t have you, so I’ll find Hell to be trapped into to get back to you…”

Kells seems to liken Orpheus’ journey to the Underworld to his journey of confronting his demons and facing his own personal Hell to become a more well-rounded, stable version of himself. In the process, he does “look back” to some self-deprecating thoughts, wavering in the growth he’s shown for a moment: “Do you remember when you mistakenly thought that I could make you happy?” Through his vulnerable delivery, the intensity in the production, and the ending track placement, it’s as if the “smaller” problems he described earlier in the album pale in comparison to the possibility of losing the love of his life. “Life’s just death if I don’t have you,” he insists.

Alongside his personal situation come two of the album’s scariest realizations. One, our most ingrained, subconscious traits and habits are the ones that can have the biggest impact on the things and relationships that make us feel the most alive, even to the point of seemingly tearing apart our happy ending. 

And two, Kells knows with how much negative media attention that the public would chew him up for the mistakes he’s described. But what matters to him is coming clean for accountability and to express how he genuinely wants to fix things, for the people he hurt and also to get closer to his ideal self. Growth is never easy and we could only imagine what it’s like to try to improve yourself and your mindset as the whole world is watching. He’s ready to take true responsibility for himself and his evolution no matter what it takes or what anyone thinks about it.

With the full context of the record, even some of the most upbeat moments from earlier songs become heartbreaking. The bouncy pop hook of ‘cliché’ – “tell me, would you wait for me?” – shifts from light flirting to pleading with a partner to stick with you as you undergo your unique journey of self-improvement and healing. Having someone ask about his relationship troubles on the street in ‘sweet coraline’ turns from a strange thing to laugh about later into an inescapable reminder of mistakes he might have made or things he may have been able to do differently.

But really, that deep sadness was probably there for him all along – we just didn’t have that information as listeners until we could hear the entire story and until he was ready to tell it. That idea is a microcosm for fame and the lack of context that the public has when passing judgments on him, and it also leads you to reflect on the times you’ve jumped to the wrong conclusion or been the subject of false assumptions yourself. 

Saving the most upsetting reveals and stories for the end of the record was an intriguing choice that we think also plays into the idea of having an unreliable narrator. While Americana and the past may be glamorized, there were various awful things in history that might get overlooked in the name of nostalgia. And with lost americana specifically, we don’t think mgk was “unreliable” in the sense of lying or misleading us, but perhaps he felt dishonest or like he was hiding if he wasn’t confronting his full self head-on, something he might not have felt ready to do until a certain point for himself and for the world. We collectively expect so much vulnerability and openness from celebrities only to watch them get torn apart when they show their raw selves and pour all these aspects of themselves out for public consumption.

I think there was a characterization that I was playing into that really loved being a polarizing figure… The truth is, it felt much more satiating to the broken boy that I just now have finally picked up, sat him next to me, and I’ve been, like, ‘I’m adopting you,’ to be the simpatico versus being the polarizing figure.

mgk on Popcast

lost americana is the ultimate homecoming as mgk starts to trust his inner voice and integrate each aspect of himself into a fully realized identity, all while harnessing his musical talent across genres and avenues. He’s come home to himself and is proudly hanging postcards from each of his detours on his wall to remind him of everything he’s learned along the way.

He took that homecoming idea quite literally when he turned his album release weekend into the annual MGK Day celebration in Cleveland, bringing fans all over the world together to celebrate his music and the impact we can have when we all stand together. The timing of MGK Day is, ironically, what some fans think led to lost americana not having a #1 debut on the Billboard 200, since so many superfans were at events over the weekend instead of streaming. But isn’t that what finding americana is truly about? Returning to a time of unity, togetherness, and hope? Perhaps such a pure americana never existed in the first place, but thanks to the power of music and passionate artists like mgk, we’re closer than ever to creating it.

Which track from lost americana do you love most? Do you agree with our analysis of the album? Let us know in the comments below or hit us up on Facebook, Instagram, and Twitter! You can also buzz on over to our Reddit community to chat with us. 

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