Chris Stapleton’s From A Room: Volume 2 is the second half of a promise. Where Volume 1 felt like a statement of intent, this record is the follow-through — nine songs about the weight of memory, the grind of the road, and the quiet comfort of home. It is not trying to reinvent country music. It is trying to make it feel lived-in. The album is a short stretch, and in that space Stapleton does what he does best: he lets his voice do the heavy lifting and trusts his songs to carry the rest.
The record was released in 2017 as the companion to From A Room: Volume 1, and critics greeted it warmly. The aggregate score sits at 80 out of 100 on Metacritic. In this reviewer’s view, this volume is a looser, more scattered affair than its predecessor — but that looseness is part of its charm. It is a collection of moments, not a single arc. And those moments, taken one by one, are almost uniformly strong.
Opening With Millionaire
The album opens with “Millionaire,” a track that sets the tone with a warm, unhurried groove. Stapleton sings about being rich in the ways that matter — love, time, a quiet evening — and his delivery sells the sentiment without a hint of saccharine. It is a song about contentment, and it earns that feeling by never pushing too hard.
“Hard Livin’” follows, and it is the closest the record comes to a straight-ahead rocker. The guitar cuts a little sharper here, and Stapleton leans into the rasp that made his name. It is not the deepest track on the album, but it works as a palate cleanser — a reminder that this man can out-sing almost anyone when he wants to.
Then comes “Scarecrow in the Garden,” which is the first real standout. The song is a portrait of a father figure, told through the image of a scarecrow standing watch over a field. It is specific, patient, and quietly devastating. Stapleton does not over-explain the metaphor; he just lets the image sit and accrue meaning. It is the kind of songwriting that makes you stop what you are doing and listen.
The Middle Tracks
“Nobody’s Lonely Tonight” is a duet in spirit, though it is sung alone. It is a song about two people who find each other at the end of a long, tired day — not a grand romance, but a mutual rescue. The melody is gentle, and Stapleton’s voice stays low and tender. It is a small song, but it lands.
“Tryin’ to Untangle My Mind” is the closest thing to a confession on the record. The title says it all: this is a song about being stuck, about the mess of thoughts that keep you up at night. Stapleton does not offer a solution. He just names the problem and lets the music sit in the unease. It is less immediate than the tracks around it, but it rewards repeat listens.
“A Simple Song” is where the album’s thesis becomes explicit. It is a celebration of the ordinary — breakfast, a porch, a familiar face — and Stapleton sings it with the conviction of someone who has seen enough of the world to know what matters. The arrangement is sparse, almost acoustic, and the lack of ornament is the point. The song does not need bells; it has truth.
Midnight Train to Memphis
“Midnight Train to Memphis” is the record’s most propulsive track. The rhythm section locks in, the guitar churns, and Stapleton’s voice takes on a harder edge. It is a song about restlessness, about the pull of the road even when you know you should stay. It is also the most fun track on the album — a reminder that Stapleton can rock when he wants to.
“Drunkard’s Prayer” slows things down again. It is a ballad about faith and failure, sung with the weariness of someone who has made mistakes and is not sure he deserves forgiveness. The title is literal: it is a prayer, offered up from the bottom of a bottle. Stapleton does not judge the narrator; he just lets him speak.
The album closes with “Friendship,” a meditation on the bonds that hold people together. The song builds slowly, adding layers of guitar and harmony, until it reaches a conclusion that feels earned rather than forced. It is a warm, generous way to end an album that has spent its runtime moving between darkness and light.
The Track List
The album runs nine tracks, ordered to move between heaviness and release. The first half leans toward introspection; the second half picks up momentum before settling into the closing meditation on “Friendship.”
| Track |
|---|
| Millionaire |
| Hard Livin’ |
| Scarecrow in the Garden |
| Nobody’s Lonely Tonight |
| Tryin’ to Untangle My Mind |
| A Simple Song |
| Midnight Train to Memphis |
| Drunkard’s Prayer |
| Friendship |
How the Two Volumes Compare
Stapleton released both volumes of From A Room in 2017, and they share a producer, a studio, and a sensibility. But the records are not identical. In this reviewer’s view, Volume 1 is tighter and more cohesive; Volume 2 is looser, with more range across its nine tracks.
The published reviews differ in emphasis. Pitchfork noted that “Vol. 2 leavens its heavier moments with songs that celebrate the simple joys of love and marriage and family, without lapsing into sentimentality.” AllMusic wrote that “It’s a collection of moments, just like From a Room, Vol. 1, but that’s the charm of From a Room, Vol. 2.” NPR said that “folding these songs into his repertoire lends greater emotional weight to his entire body of work.”
| Volume | Metacritic | Critical Reception |
|---|---|---|
| Volume 1 | Not available | Tighter, more cohesive |
| Volume 2 | 80/100 | Looser, more scattered |
This is a record that rewards patience. It is not flashy, and it does not announce itself. But it stays with you.
8 out of 10.
- Millionaire3:30
- Hard Livin’2:59
- Scarecrow in the Garden3:20
- Nobody’s Lonely Tonight3:27
- Tryin’ to Untangle My Mind3:15
- A Simple Song3:36
- Midnight Train to Memphis3:43
- Drunkard’s Prayer4:08
- Friendship4:25
