![]() The song begs its listeners for greater honesty in their lives, unleashing a torrent of vulnerability. “Honest 2 God” originally debuted on SoundCloud but has been played for several live performances over the years. Never abandoning his roots as a hip-hop artist, Work in Progress also features two of Mineo’s most popular freestyles retooled for wide release. Bringing in a live band and using bygone methods of recording, “Til’ Death” has what Mineo described as a “rich,” “expensive,” and “vintage” sound. “Til Death” lays on the celebratory elements more deeply, serving as a rhythmic tune that could be played at weddings for years to come, as Mineo stated was his intention on the corresponding podcast. Balancing his affection for both music with the responsibilities of husbandry has been taxing, but Mineo has begun to recognize that “…pain’s in store for anyone who want it all.” The former is a reevaluation of Mineo’s priorities, as he professes that while he loves his career, Cristina Mineo must be his priority. “Another Me” and “Til Death” celebrate the relationship of Andy Mineo and his wife Cristina, albeit in different ways. Some of the greatest art pieces in history are framed around the concept of love, and Work in Progress is no exception. Mineo’s pain is deeply rooted and has caused him to retreat into false feelings of self-sufficiency that only in adulthood, through spiritual renewal and therapy, has he begun to shed. ![]() With the conclusion of the song, Mineo finally admits the truth, stating,” I don’t need nobody, dang maybe I do.” Meanwhile “I DON’T NEED YOU” expands upon Mineo’s expression, explaining the Reach star’s use of isolation and monetary pursuits as a means of dealing with rejection. On “Family Photo” Mineo returns to the day of his wedding, expressing the hurt his father put him through on one of the most important days of his life. Beyond his musical exploits, the Miner League founder has buried past pains that are beginning to emerge in his artistry. On the alternative version of the 2018 anthem, “I Ain’t Done,” Mineo declares, “I believe in me, the way that I used to…”Īfter struggling with doubts over his own artistic merits in 2016, Mineo used “I Ain’t Done” as an outlet for his artistic frustrations. In Mineo’s case, he has had to confront his artistic anxieties and history of abandonment. On “1988,” the artist wrestles with his fear of growing old and the threat such a process poses to his career, stating, “ife, no one survives it/s much as we want to control it, it just throws surprises.”Īs the Reach Records star points out, life has few guarantees, putting everyone through trials before its end, yet the measure of humans is what and how we learn from these trials. Even an act as mundane as walking through a park causes Mineo to look inward, or rather forward. Perhaps the most crucial element of Work in Progress is Andy Mineo’s introspection. Whether it be the fear of aging, a celebration of marriage, or musical experimentation, the album is a thematic feast and might be Mineo’s most powerful project yet. ![]() ![]() Whereas Mineo’s earlier releases accounted for a single season, Work in Progress gives listeners a more complete display of Mineo’s artistic evolution. The project is unlike any released by the artist before, compiling several unreleased tracks into a single release with a podcast series used to create additional conversation. On August 23, Andy Mineo released a musical-podcast hybrid called Work in Progress. ![]()
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