Lil Nas X performs during WiLD 94.9’s Jingle Ball at The Masonic in San Francisco on Dec. 8, 2019.

The debut album by Lil Nas X, Montero, has been a long time coming.  The Atlanta rapper has transformed before audiences from the meme zeitgeist of “Old Town Road” to a more complex and layered artist who’s versatility and charisma have solidified him as a pivotal voice in the current generation of rappers.

The rapper has sparked controversy over the summer with his “Satan Shoes” promotion, which contained a drop of human blood, alongside the controversial video for the song of the same name. He’s been targeted by pearl-clutching fundamentalists and homophobes alike. Yet, Lil Nas X continues to fly in the face of his detractors by staying true to himself even when it isn’t easy. That’s the theme of the album.

The title track opens the album with its playful Latin influence, as Lil Nas X raps about his desire to give into the sinful temptations of sex, drugs and partying. It’s considerably tongue in cheek in hindsight, but the point regarding his detractors makes the substance of the song continue to hold up as a bold anthem against the controlling fervor of the religious right.

It’s followed by the horns and synths of “Dead Right Now,” as Nas X reflects on the state of his life just prior to being launched into superstardom. The bright and glitzy melody sharply contrasts the deep introspection of the lyrics: “2018 I was at my sister house the whole summer/ Songs wasn’t doin’ numbers/ Whole life was goin’ under.”

The next track, “Industry Baby,” featuring Jack Harlow, switches things up with bombastic horns and bass, as both artists rap about how they’ve enjoyed overwhelming success. “What I Want” takes things a step back with a lighter, almost pop-rock acoustic guitar melody, as Lil Nas X raps about his desire for a romantic partner. The plucked strings and synths of “Scoop” see him team up with Doja Cat, delivering a song about knowing your own worth.

With Elton John at the piano, “One of Me” tackles criticisms thrown at Lil Nas X, reducing him to being just a meme rapper and a one-hit wonder. It’s kind of a ridiculous criticism since every time the artist drops a new song, it seems to take over the entire internet, but you can’t argue with stupid. “Lost In the Citadel,” with buzzing synths and a playful snare interjected with electric guitar, delivers a bit of 2000s-era pop-punk. Nas X raps about a difficult one-sided relationship in which he found himself.

On “Dolla Sign Slime,” we get a more fun, braggadocios cut with Megan Thee Stallion. She and Nas X flex their wealth. “Tales of Dominicana” and “Sun Goes Down” tackle heavier themes regarding Lil Nas X’s mental health, exploring the dynamics of his childhood trauma from a broken home, as well as his struggles to understand and accept his sexuality as he got older.

He opens up about his continuing anxieties and depression, and even reveals he had struggled with suicidal thoughts in the past. Lil Nas X sheds these burdens on “Don’t Want It,” a victory lap track of sorts about him overcoming his feelings of self-doubt and seizing the things he wanted so desperately in life.

“Life After Salem” is another lament of a previous relationship, with the instrumental delivering an unsettling, off-key acoustic guitar melody with a slow, marching snare. It gets kicked up with a cutting electric guitar that puts listeners on edge. It’s jarring when compared to the rest of the album’s sound, but the song still works well. The album closes on “Am I Dreaming,” a duet with Miley Cyrus, on which the two sing about never forgetting the past while remaining hopeful for a future they determine for themselves. Montero validates Lil Nas X’s staying power as an artist, exemplifying his ability to change and adapt over time while continuing to play to his strengths.

Follow editor Tim Hoffman at Twitter.com/hipsterp0tamus.