Ben Platt - Honeymind
Ben Platt’s voice soars when unleashed, but Honeymind’s careful Americana holds him back, writes queer country singer Tommy Atkins.
Ben Platt is the latest in a long line of stars to don the double-denim for his new album, Honeymind. But while most of his peers have "gone country" this past year, Platt has opted for an Americana twist – a notable shift for the Broadway star from the high-energy pop sound that defined hits like "RAIN" and "I wanna love you but I don’t."
Honeymind is catchy in places, and you can hear echoes of Platt’s earlier pop sensibilities, but something’s missing—a certain rawness that once set his work apart.
But let’s start with the positives: there are indeed moments of sincerity on this album. Platt’s queer storytelling is riveting and does the gorgeous album cover justice.
He breathes new life into the unrequited-love-song with "Andrew," lamenting “the cruel jokes that chemicals play” when a gay guy falls for his straight bestie. "Before I Knew You" pulsates as the emotional heart of the album, documenting his journey to the love of his life. And while I’m not sure Platt’s main intention with the gun-violence number "Home of the Terrified" was to rep for queer parenthood, it nevertheless serves as a poignant reflection on what ‘starting a family’ really means in this day and age. Hearing a queer person reflect on this at all is still a rare phenomenon in the Americana and country landscape.
But while Platt’s perspective feels necessary, the music itself often does not. The production is pristine, but perhaps too much so.
The key frustration with this album though is how much it constrains Platt’s voice. Fans hoping for those powerhouse moments have to wait until track five, "Cherry on Top", to hear Platt truly blow. Up until then, he leans heavily on his delicate head voice (and Platt does indeed give exceptional head). But even when these moments of release come in "Cherry..." and "Need You Like This", the lyrical content doesn’t quite rise to meet the moment. The energy too recedes immediately after both tracks, where not even a collaboration with Brandy Clark can undo the slump.
Ultimately, Platt’s attempt to navigate the genre comes off as too cerebral. On paper, this record made sense. There were glimpses of what would be delivered in his covers of Brandi Carlile’s "The Joke" and Lady Gaga’s "You and I." These were gutsy and impressive offers, proving that his voice can thrive within this style. But where Carlile has mastered the bombastic, rootsy flair of Americana, Platt seems hesitant to fully embrace it.
Artists like Darius Rucker became a benchmark for cross-genre success. Others, like Jewel, Steven Tyler, and (dare we say) Jessica Simpson, made less successful stabs at it. Platt seems to have fallen into the same trap these artists did—trying to make “a genre album” rather than “a Ben Platt album.” The greats who have dabbled in one-off genre shifts—Beyoncé, Kylie Minogue (#JusticeForGolden)—succeeded because they stayed true to their artistic essence. Platt, on the other hand, seems to have colored too carefully within the "Americana" lines.
Honeymind is a pleasant listen, but it lacks the vitality that made Platt’s earlier work shine. His voice remains a gift—but perhaps next time, he should trust it more and let it guide the music, rather than the other way around.
