LYRICS
If I die before I get a chance to tell you, I still worship and adore you, even if it’s from afar
Solo nights have left me anything but peaceful, losing sleep because I feel evil, dreaming awake by default
The devil in between my eyes, that social parasite, is causing havoc in my head and heart again
I’ll medicate myself with something, go until I can feel nothing, burn it down or keep on living It won’t be hard to find
The memory of you that keeps me up at night, is tracing circles in my mind, and every time it lies I lose control
If I dwell over your love I’ll end up cold and dead because if overthinking was a drug I’d overdose
Baby I’d over-
If I lose myself before this life is over, I just hope you will remember, the way I was when I was yours
I’ll medicate myself with something, go until I can feel nothing, burn it down or keep on living It won’t be hard to find
The memory of you that keeps me up at night, is tracing circles in my mind, and every time it lies I lose control
If I dwell over your love I’ll end up cold and dead because if overthinking was a drug I’d overdose
I’d Overdose
I’d Overdose
(Medicate myself with something, go until I can feel nothing, burn it down or keep on living… Baby I’d Over-)
If I die before I get a chance to tell you, I still worship and adore you, if and only from afar
ARTIST BIOGRAPHY
McMillin’s career is an unapologetic collision of raw energy and personal truth, where each song pushes boundaries and leaves an undeniable mark. His sound doesn’t play by anyone’s rules, blending the ferocity of modern rock with a touch of punk’s restless energy. From introspective, soul-baring lyrics to riffs that hit with an almost tangible weight, his music is a testament to a journey filled with turmoil, reflection, and relentless creativity.
Featured in EarMilk and other major media outlets, McMillin’s artistry has made waves in the music world, carving out a space where authenticity is non-negotiable. But his musical influence extends far beyond his solo work. In Space Radio and Ratilla, two globally celebrated cover bands based in Nashville, TN, McMillin’s signature guitar work and vocals bring a depth and edge that set these groups apart. They don’t just play cover songs—they make them their own. McMillin’s contribution to these bands transcends the role of a mere performer; his sound shapes the essence of what makes these groups unforgettable.
In addition, McMillin’s presence in The Stallions, the band fronted by The Voice alum and Alzheimer's research advocate Jay Allen, elevates the group to new heights. As a pivotal member, his guitar and harmonies cut through the noise, adding complexity and energy that fuel every show. He’s not just playing alongside the band — he’s breathing life into it, ensuring each performance becomes an event, something uniquely his, while contributing to the group's collective identity. The band has been seen commanding crowds at Whiskey Jam and packed venues across the country, establishing themselves as one of the most electrifying acts in their genre.
He has also been seen playing guitar and collaborating with pop duo and viral TikTokers ElectraQueens, who have worked with Kevin Bacon, Kathy Sledge, and more.
McMillin's live performances are a force of nature, having graced the stages of iconic Nashville venues like EXIT/IN, The End, and Eastside Bowl. He commands attention, whether in a packed venue or in the studio, bringing a presence that is impossible to ignore. This relentless drive and commitment to doing something that matters has solidified his place as one of the most vital forces in music today.
McMillin’s artistry is not interested in trends, nor does it care for boundaries. He’s forging a path that’s all his own — one where unrefined sound collides with emotion in its purest form. Every song is a statement, each riff a reflection of the drive that fuels him. McMillin’s music is his revolution, and it’s not slowing down anytime soon.
SONG PROFILE
McMillin’s upcoming release, “O.D.,” [11.22.24], unpacks the labyrinth of overthinking with a rawness that feels almost suffocating. Instead of merely portraying the mental chaos as a fleeting disturbance, the track embodies it as an all-consuming force that presses down on our main character like a weight they can’t shake. Overdose, often associated with death or destruction, becomes a metaphor for the mind’s downward spiral — a place where regret isn’t just a passing thought, but a deep, festering wound that refuses to heal.
He shares the backstory behind the project, “O.D." transforms a dire, life-threatening experience — overdose — into a metaphor for something far more relatable: the all-consuming, destructive cycle of overthinking. In this track, the protagonist's mind spirals, not from external forces, but from self-inflicted torment. Their emotional weight is born from their own mistakes, from a past love that is long gone and entirely their fault. The weight of unresolved regret manifests in a storm of intense, repetitive thoughts that hold them captive, refusing to relent.”
The song’s protagonist doesn’t look for an external scapegoat. The guilt, the emotional burden, is entirely self-inflicted, which only deepens the mental maze they’re trapped in. They are left to wrestle with their actions, haunted by the consequences of what they’ve done. The track paints a picture of a mind under siege, where each thought twists and turns, dragging the protagonist further into the dark corners of self-recrimination. It’s not simply regret that echoes through the song — it’s the intense suffocating weight of knowing it’s all on them.
Musically, “O.D.” pulls from the raw energy of early 2000s pop-punk, with its frenetic guitar lines and gritty atmosphere. But McMillin breathes new life into that style by blending it with modern, heavy instrumentation that builds layers of tension throughout the track. The guitars are sharp, relentless, each riff intensifying the picture of internal descent.
The rhythm shifts — from a forward-driving beat to a disorienting swing to a slow, crushing halftime — mirroring the erratic fluctuations of thought that plague the mind when it’s overwhelmed. Each section of the song feels distinct, almost like different emotional states in the exact moment of turmoil. The urgency of the straight-ahead pace clashes with the dizzying disorientation of the swing, while the halftime breaks the momentum and sinks into reflection, as though the mind itself is buckling under the weight of the turmoil.
This song reflects something universal: the constant battle with yourself, the relentless loop of regret and self-blame that refuses to let go. McMillin’s ability to channel that feeling into a soundscape that’s both jarring and hypnotic makes “O.D.” more than just a song — it’s a visceral experience of what it means to be trapped inside your own mind.