Tag Archives: mainstream country

Reviews

Single Review: Blake Shelton’s “God’s Country”

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Rating: 7.5/10

Blake Shelton’s output prior to his stint on The Voice represents some of the best modern mainstream country music in the genre. In recent years, that output has gone steadily downhill until he hit a new low with Texoma Shore. Some will point to that last album as a turning point for Blake, as an organic return to his roots that finally saw him trying to move back toward tradition and substance–and it’s certainly true that there were more country sounds on that record than what you’d find on many mainstream projects these days. But Texoma Shore also represented a lyrical low for Shelton, and for this listener, it became the first Blake Shelton album not to have at least one or two great moments; even if those great moments had become harder to find lately, there were still always a few on any Shelton release, but Texoma Shore could not boast this saving grace.

So now we have the first taste of an upcoming album in the form of “God’s Country,” and this really does seem to be Blake Shelton returning, at least in part, to his roots. Staunch traditionalists will probably find a lot to hate about this song, with its electronic drums and hand-claps, or with the lyrics about small-town life that have become so clichéd in recent years, but this is a solid mainstream country single and a welcome move in the right direction for Shelton.

It’s true that the lyrics remain the weak point of the song, for songs glorifying the country way of life are so plentiful in the mainstream right now. But the concept is certainly not a bad one in and of itself, and Blake Shelton sings this with an impassioned, heartfelt delivery that makes this different from so many similar songs. You believe what he’s singing; this is not a pandering list of country qualifiers but rather real pride being expressed by someone who has lived this way of life. It doesn’t feel mocking or patronizing, even if the lyrics themselves don’t offer anything truly original.

The production is the thing that really sells this, though. Yes, we have electronic drums, and real ones would have gone a long way toward getting more traditional fans to listen to this, but the rhythm and the dark, heavy production really set the tone for this well. It’s not bright and happy like a lot of mainstream material; rather, the song is built around minor chords and a moody atmosphere. It also reaches the very limits of Blake’s vocal range in the chorus, not stretching him too thin but sustaining an intensity that matches the mood. In fact, the aforementioned hand-claps and beats are probably the only thing that makes this track sound mainstream at all, and these will be the things that keep contemporary country fans interested.

Nothing earth-shattering lyrically, but a great vocal performance and interesting, dark production make this song stand out. A good balance between the traditional and modern, and a promising sign for Shelton’s upcoming album.

Written by: Devin Dawson, Hardy, Jordan schmidt

Reviews

Album Review: Reba McEntire–Stronger Than the Truth

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Rating: 7.5/10

As was discussed in my recent collaboration with The Musical Divide on the importance of continuing to cover and discuss mainstream artists, country music finds itself in an identity crisis in 2019. Bro country has long since died, and now the genre is seeking to reclaim its core fans. We’ve seen Luke Bryan and Blake Shelton release recent quality, country-sounding singles to radio. We’ve witnessed the meteoric rise of Luke Combs as listeners gravitate toward his authenticity and relatability. And we’ve watched George Strait come out of nowhere to suddenly regain airplay with “Every Little Honky Tonk Bar.”

Somewhere along the way, as we lost the substance and sounds of country music, we also lost the female perspective. Women became “girls” who rode shotgun in trucks and sipped drinks in clubs. NO one wanted to hear from a woman because it seemed they had nothing of value to say. The career resurgence of Reba McEntire is an embracing of both substantive and traditional country music, as well as an acknowledgement that forsaking the perspective of women might not have been such a sensible idea after all.

As I said of George Strait, a new Reba album is never a bad idea and always promises to deliver in both sound and quality. Stronger Than the Truth is not some forward-thinking opus that will blow the minds of all its listeners, but it’s a welcome return for Reba McEntire that shows her embracing her roots proudly.

First of all, can we please get an entire Western swing record from Reba? The opener, “Swing All Night Long With You,” fits her like a glove and remains one of the strongest tracks on the whole thing. It’s so infectious, with its cheerful piano and lively fiddles and guitar licks. “NO U in Oklahoma” is also a standout with its fun, upbeat production and catchy melodies. Reba brings a personality to both these songs that is frankly unmatched on the rest of the record. It would be great to see her explore this for a whole album; we often see country artists record a bluegrass album or a gospel project later in their careers–as McEntire herself did recently–and for Reba, a Western swing album would be perfect. She has a great voice for it and an obvious passion for the discipline.

Most of the album isn’t nearly as lighthearted as these two selections, however. Much of the material deals with heartbreak and pain, exploring the emotions so often associated with country music yet also so often ignored in recent years by mainstream performers. “The Bar’s Getting Lower” is an almost brutal slice of honesty, as the narrator contemplates having a one-night stand with the man she’s just met in the bar because she’s getting older and lonelier, feeling that she might never settle down and make her mother proud. It’s a song that will be relatable to so many, to the ones who have directly felt this desperation and to the ones who live in fear of one day becoming this woman. “Cactus in a Coffee Can” is a nice story song and one that will probably be universally liked, telling the tale of a woman who sits next to McEntire on a plane, pouring out her life story of a mother who abandoned her on the day the girl was born and struggled with addiction until the day she died. The title track remains one of the highlights as well, simple in its execution but timeless in its message as the main character tries to cope with the soul-crushing knowledge that her husband has betrayed her.

There is a lull in the heart of the album where a moment of energy would have helped to lighten the mood. “Storm in a Shot Glass,” one of the album’s most catchy selections, could have been sequenced differently to better break up the otherwise mid-tempo, depressing stretch from tracks 2 through 7. It’s also here that we find some songs which are told better by others elsewhere on the album; for example, “The clown” is essentially Part 2 of “Stronger Than the Truth” and doesn’t tell the story nearly as well as that song. It also feels like the piano drags on forever, which admittedly goes with the repeated line “the piano kept playing” to illustrate that life goes on all around us even when our hearts have just been broken, but the whole thing just feels a bit overwrought. “Your Heart” is also pretty forgettable and seems to be advising women to lead men on; this was probably not the actual intention, but the song is framed that way. Trimming a couple of these songs, sequencing them a little better, or even adding another upbeat moment here would have really gone a long way toward keeping the album from dragging and becoming too depressing.

Overall, though, this is a nice, solid slice of country music and a welcome return for one of the genre’s best. The strongest songs are near the front and back of the record, and there’s some filler in the middle, but there are some truly excellent tracks here. The Western swing numbers have instant replay value, and “The Bar’s getting Lower” is one of the best songs of the year so far. The songwriting is strong throughout most of the record, the production is interesting, the music is country, and Reba sounds great vocally. Another solid album from Music Row, another encouraging sign for the genre as a whole, and another quality offering from Reba McEntire.

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Reviews

Album Review: George Strait–Honky Tonk Time Machine

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Rating: 7/10

Just as a steaming bowl of soup has an understood and unparalleled power to heal and comfort us when we’re sick, a George strait release is a cure for what ails country music, a moment of relief and comfort in these troubled times. When you hear that a new Strait album is on the way, you don’t get worried, as is the case with so many mainstream artists, that he’ll sell out or start chasing trends or take a last stab at radio relevancy with some embarrassing, ill-advised single in lieu of aging gracefully and making the music he wants to make. You don’t worry that he’ll compromise his sound or his principles for cash because he doesn’t need to. He doesn’t need to court radio and younger audiences either; he’s built up a fan base too strong for him to care about any of that. In fact, the only real concern with an artist like strait is complacency, especially after such a long career. But King George hasn’t been complacent at all; he’s continued to select great songs and has also written more and more of his own material in recent years, churning out album after album of substantive songs and showing no signs of slowing down. Honky Tonk Time Machine isn’t a reinvention of the wheel, but that’s never been George Strait’s goal. Like Strait himself, the album is solid, steady, and undeniably, refreshingly country, adding another quality record to his extensive discography.

Like most George strait albums, this is a collection of solid, straightforward tunes with some exceptional moments. The high point of this particular record comes in Strait’s cover of “Old Violin,” a song originally written and performed by Johnny Paycheck. Personally, I’ve been hoping for a studio version of this since I heard him sing it live back in June. It’s a great fit for George vocally, and he really sells it well in terms of emotion. “Sometimes Love” is another strong ballad, this one exploring what happens when someone takes a casual relationship too seriously and accidentally falls in love. The title track is the highlight of the livelier selections, one of those songs that’s just fun to listen to and which would sound great in the kind of bar the song describes. “Codigo” is in a strange position, given that it’s essentially a commercial for the tequila Strait chose to invest in, but it’s actually one of the better songs here both lyrically and melodically. I’d argue that the more pandering reference to the tequila brand comes in “Every Little Honky Tonk Bar,” as they could have chosen any number of liquor brands to “do a shot” and conveniently chose to throw this one in. That’s no knock on “Every Little Honky Tonk Bar”; it’s also one of the stronger tracks on the record. But it seems more fair to criticize this line than the actual song “Codigo,” a catchy little number that we’d all love unconditionally if Strait hadn’t invested in the brand.

This album is not without its flaws. Several of these tracks feel like they could have used another verse or a bridge to tie everything together. “The Weight of the Badge” is the best example of this, a song that feels just short of being great and indeed could have been great if only it had been developed a little more. Some Nights” has some strange rhymes in the chorus, and it certainly seems like this idea could have been explored more deeply as well. And “Sing One With Willie” is fun and all, but ultimately, it’s a novelty and feels like a bit of a missed opportunity for two legends of the genre to give us something truly extraordinary.

But all in all, it’s another solid record from King George. It’s not earth-shattering, but that isn’t George strait. This album is what Strait does best, a solid collection of songs rife with fiddle and steel and piano and boasting smart, substantive lyrics. Strait is probably never going to release the Country exclusive album of the Year, but he’s also never given us a bad record in nearly forty years, and that’s truly a thing to behold. Another slice of solid, straight-up country music from one of the genre’s most special artists.

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Collaborations

The Importance of Discussing Mainstream Artists: Featuring The Musical Divide

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Too often, in the discussion of “real country” and keeping tradition alive, we see independent fans choosing to dismiss the mainstream altogether. It’s certainly easy to do when you discover all the alternatives and realize there really is substantive songwriting and actual country instrumentation out there thriving, just beyond the lenses of radio and streaming playlists. But completely turning our backs on the commercial side of country music could potentially have damaging effects on the genre’s longevity. I teamed up with Zackary Kephart of The Musical Divide to talk about why paying attention to and covering mainstream country is still necessary. Read that below!

Megan: Last year around this time we did a piece together on “real country” and the artists still keeping it traditional. But there’s also the other side to this coin, where many traditionalists and fans of independent country dismiss the mainstream out of hand. I know for you, this came to a head recently over Lauren Jenkins’ album. What would you say in response to people who say country radio and the mainstream are lost causes, and we should just focus on the independent world?

Zack: Well, I’d say it’s entirely their choice as music consumers. But personally, as a self-appointed critic and scholar of the genre, I’d advise against this. Whether we like to admit it or not, the country music industry is a business. Critically, and objectively, I always think of country music in terms of how others see it. For example, right now it’s likely viewed as a dumping ground for unfair stereotypes given the Lil Nas X debate. When artists like Maren Morris, Kane Brown, or Luke Combs, three of the biggest current names, release a new song or album, they’re the faces of country music. So I’d say it’s important to take stock in and care about the genre’s mainstream. Like it or not, the debates always circle back to the mainstream anyway. Right now, country music is in the midst of an identity crisis not unlike the one it suffered in the early-to-mid ’80s. Sure, I have other options, but I still care about country music and how it’s being portrayed to the public.

Megan: Don’t get me started on that debate; that’s a whole other piece entirely. But yes, country is definitely in an identity crisis and is being ridiculed on the basis of a lot of negative stereotypes right now. Some of those stereotypes certainly have a basis, but it’s discouraging to see such a one-sided, disparaging approach to the genre by so much of the mainstream media right now. Again, though, that could generate a whole other discussion on its own. As far as how the genre is presented to the public, I can’t overstate the importance of this. I think that often, we who have turned off country radio and discovered the independent scene forget that at one time, we didn’t really know there were alternatives. You can argue that radio is irrelevant, an assertion I don’t completely agree on anyway, but even if you do hold this viewpoint, streaming playlists are arguably even worse than radio at portraying the country genre. It’s easy to forget that the mainstream is the mainstream for a reason; it’s still the most popular music. It’s still what most of the next generation will use to determine what “country” sounds like. If we abandon it altogether, I believe we put the long-term future of the genre in danger. You mentioned the ’80s, which is a great comparison, but where would we be right now if everyone had given up on the mainstream back then?

Zack: Well, the thing with the ’80s compared to now is that we didn’t have those alternative sources. You lived and died by those radio playlists. Of course, we had also had an onslaught of country music related movies such as 9 to 5 and Honeysuckle Rose during this time. The biggest example is obviously Urban Cowboy, an event that caused everyone to want to be “country.” When that trend faded away, and all of the bandwagon jumpers left, country music had to reclaim its core audience. I think we’re seeing that now with the career resurgences of Brooks & Dunn, Reba McEntire and George Strait. Luke Combs, Riley Green, and Midland are further examples of trying to bring that traditional balance back in. That balance is what’s off-center, currently. The faces of the genre are the aforementioned names along with, say, Thomas Rhett. Granted, I liked his last album, but critically, he’s barely a country music artist. But he represents country music to so many right now. He’s also popular, and people like his music, statements that apply to every other popular country music artist right now. Radio is not irrelevant, but again, that also depends on whether you’re talking personal or cultural importance. People often think within the limits of their own perspectives, which is fine. But you’re right, it’s still the leading platform for preferred listening experience. It’s the same thing as saying award shows don’t matter. Tell that to Chris Stapleton.

Megan: “People often think within the limits of their own perspectives”; this is a great point and absolutely correct. People forget that the artists you mentioned are rewriting country’s history, and the people that grow up listening to Rhett and Morris will believe this is what country is supposed to be. This kind of thinking will erode the genre and completely rip it from its roots. This is also why I think the other important reason to cover and discuss the mainstream is to highlight those artists who are moving the genre forward and still respecting the roots. This is why it’s so frustrating that an artist like the aforementioned Jenkins, who can rightly be called pop country, has had virtually no support from Big Machine Records while Rhett, Morris, and others are the faces of the genre. Why do you think labels are ignoring artists like Jenkins while promoting straight pop and R&B and rap as country?

Zack: Well, Jenkins has explicitly stated that her team won’t even bother with radio, since they believe they can reach an audience without exploring that avenue. Perhaps it’s a bold, innovative move, but it’s also frustrating that this is a new mindset. I’d of course love if this could be the new model, but as you said, the alternative is streaming playlists. Even there, the idea of radio continues to live on. People enjoy being given a playlist they can listen to hassle free. With an endless array of music, we’re now faced with the tyranny of choice. Basically, it’s easier to listen to someone else’s recommendations. So playlists that are somehow even more male-focused are the new “norm” for listeners. There are many things worth fighting for in country music. Gender equality, representation of other sorts, and sanctity of the genre’s roots. Caring about having that equal balance though brands you as out of style or as a “purist.” It should come as no surprise that the face for traditional country music right now is Luke Combs, a guy who looks like he could change your oil at Jiffy Lube. Jamey Johnson and Stapleton are further examples. Meanwhile, here comes Rhett, Morris or King Calaway where it’s clear the focus is more on the image. And again, this has little to do with pure taste. I personally like Rhett, but critically, I believe it’s still worth our time and effort to care about country music and its portrayal.

Megan: It’s interesting in the case of Jenkins that they believe they can promote her album without radio. In general, I believe that can be done; we’ve seen it with Stapleton certainly and most recently with Kacey Musgraves. But with Jenkins, it feels like she’s caught in a weird place with that strategy, being too pop for many independent fans to take notice. She’s the kind of artist that should be promoted in the mainstream because the music seems to find more of a balance and be more radio-friendly without compromising the lyrics. It’s a shame they went this route because this is the kind of music I want to see pushing the genre forward. We need good pop country as much as we need the traditionalists like Luke Combs. As far as taste, yes, it has very little to do with that. Once again we are called to look beyond ourselves and see the bigger picture. People like Combs aren’t ever going to be the next Jason Isbell, but that’s not what we need in the mainstream to help carry the genre forward. You mentioned King George Strait a moment ago, and this brings me to a point I’ve made several times on CE while defending the importance of the mainstream. People point to the outlaw movement all the time as saving country music from Nashville in the 70s and putting the creative control back in the hands of the artists. This is all true, but look at Strait. He was signed by MCA in 1981 and given only one single because he was thought to be too traditional. Here we are almost forty years later, and he’s still on that same label with one of the longest, most commercially successful careers in all of country music. He did his part, along with others, to turn country back to its roots, but from the inside. King George never reinvented the wheel, but he is as important to the genre as any of the outlaws. We need artists like that today, solid, traditionally minded artists who can carry country music’s legacy forward by making it appeal to the masses.

Zack: Your points about Strait call important points to mind. With him, and even Waylon Jennings and Willie Nelson before during the outlaw revolution, they wanted to change the system. Jason Isbell, Sturgill Simpson and Margo Price don’t care to bring that type of change, which is fine. But it highlights a big difference between decisions made then and now. Strait represented an alternative to what was popular, just as certain artists such as Combs and Midland do now. Is it the exact same scenario? Of course not. But change requires more than just firing off a few tweets. It requires active change on the inside. Of course, that also involves being entrenched in the politics of it all, so it’s a tricky line to walk. And of course, this conversation isn’t strictly limited to traditional or pop country. It’s about caring about country music’s representation. Even someone like Eric Church, who’s hardly a traditionalist, represents a desire for true artistry. Within country music, he embodies that vagabond spirit that’s certainly familiar to country music, despite what his music may actually sound like. It certainly takes all kinds, but a lack of care will only mean that the bottom line gets served. Country music hasn’t needed saving in terms of pure quality. That’s hard to judge. But between the onslaught of the rockabilly movement, the Urban Cowboy movement, the stagnation of the Nashville Sound era (note again, “stagnation,” not an indictment of the era itself), and even now, country music has certainly needed saving.

Megan: Great point on Eric Church and the spirit of artistry. That’s important for country music and for all of music in general. Within country music, I’d argue that’s just as important, if not more, than keeping the traditional sounds alive. It’s more than fiddle and steel and even storytelling, it’s also about being an artist instead of a businessperson. In the mainstream, you have to be both, but someone like Church perfectly illustrates the difference between making a genre-bending record as an artist and exploiting country for cash like many of these artists do. I’m a big fan of Church, but even if you aren’t, or you prefer a more traditional sound, it’s important to see the larger impact of Church’s music and artistry on the culture. I’d rather listen to an artist with something to say than one who is simply going through the motions, even if their sound is traditional.

Zack: Agreed. And that’s still occurring in mainstream country. There’s still music worth discussing and championing, despite what naysayers say. More than that though, I think we’ve established that these conversations matter. To give up on the mainstream is to give up on country music and its potential. The current country charts are a cesspool because we’ve abandoned that hope and drive to fight for an American art form. In 20 years time, perhaps the entire landscape will change. I’d certainly expect a radical departure in the system at some point. Country music as a commercial genre isn’t even 100-years-old yet. But for now, examining and critically discussing artists within the mainstream isn’t worthless, it’s fighting for country music.

Megan: So for the naysayers and people who dismiss the mainstream and focus only on Americana and Red Dirt, who would you say is really pushing the genre forward right now in mainstream country? Who would you say is making the case for good pop country and making good modern music that still respects the roots of the genre?

Zack: You already mentioned Jenkins. I’m a big fan of what she’s doing. I’d say Combs represents the fact that country music is still for the everyday person. He also presents a curious case for how authenticity matters in the industry. Church represents the hangdog spirit that’s always been embedded in the genre. So does Miranda Lambert, despite recent setbacks. Riley Green, Jon Pardi, Midland, and even Blake Shelton now represent a turning of the tide for the genre. Carrie Underwood, despite an underwhelming recent album, also represents how country music can be accessible without completely compromising its roots. Stapleton is the mystifying oddity who both defies expectations and also represents that same outlaw spirit in country. Even Kane Brown, love him or hate him, represents the future of country music. Between him and Combs, there are no hotter artists out there right now in terms of commercial success. Again, this is me looking outside of my own perspective. Of course too, there’s names I’d love to say are killing it, but at the very least are trying to make it in a broken system. Cam, William Michael Morgan and Runaway June immediately come to mind, among others.

Megan: I agree on Combs being important for representing the everyday person in country, and not doing it in a patronizing way, or with cliches about trucks and moonshine. Stapleton and Church both represent that desire for artistry, that intangible thing that makes artists connect with an audience because we believe they’ve lived out their songs and have something genuine to say. Lambert has been important both in her solo career and through the Pistol Annies, keeping a more traditional sound and providing a much-needed female perspective. Underwood’s last album was underwhelming, but she’s always done a fine job of mixing country and pop in a way that’s respectful to both genres. I’d also cite Brothers Osborne as being somewhat similar to Combs in that they’re representing everyday people. Their last album really drove home the fact that in forsaking substantive lyrics and interesting melodies, we’ve also lost appreciation for guitar solos and instrumental flourishes. They aren’t traditional, but they are making very good modern music and evolving the country genre in the right way. And Dierks Bentley really returned to form on his latest record as well, managing to find a smart balance between contemporary and traditional. And of course there’s the aforementioned Musgraves, who achieved an Album of the Year Grammy for a country record. That’s victory in 2019. A staunchly traditional album is not going to see that kind of reception, and although I’m going to continue to stand and fight for the inclusion of traditional country and fair representation, Musgrave’s win is a victory for women, for substance, and yes, for music that can rightly be included in the country genre. It’s important to champion the good modern country, because these are the artists that will influence generations. And like it or not, I’m sure most of us would much rather Golden Hour be the album that influences younger audiences than anything by Rhett, Morris, etc.

Zack: I’d have mentioned Brothers Osborne, Bentley and Musgraves if I had only thought of them. Like I said, there are plenty of artists who could stand toe-to-toe with artists in the independent scene, and your contributions are also fitting names. As a fan, it saddens me that country music is looked upon as “yeehaw culture” or a genre of music people can make fun of since they don’t like it. To an extent, there is a danger that artists such as Florida Georgia Line, Luke Bryan, and Jason Aldean have brought to the forefront – rural pride pandering. Now we’re seeing the consequences of it all. And people do care about what’s happening in mainstream country music. Former journalist and current YouTuber Grady Smith’s viral snap-track video is further proof of that. In the end, I’d say it’s important to care enough about country music to examine it personally and critically.

Megan: It saddens me that country music is seen that way as well, and I do believe some of it is the aftermath of bro country. But country has been the victim of stereotypes, both warranted and otherwise, for its entire history. This is almost another entire discussion, and certainly an important one. It’s one I wouldn’t mind having in the future. But as far as this particular topic, I think ultimately you’re right. It’s important to care about the genre both personally and critically and to be subjective as well as objective enough to see others’ perspectives and the bigger picture. We shouldn’t give up on the mainstream, and we should champion the artists still doing it right on Music Row. As you said, these conversations matter, and I certainly enjoyed this one.

Reviews

Album Review: Maren Morris–Girl

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Rating: 2/10

This is not going to be a traditionalist bashing of the new Maren Morris album on the grounds that it isn’t country in the slightest. Every artist should have the right to his or her own self-expression and should make the music they want to make. I am not going to criticize Maren Morris for making a pop/R&B album, or even for marketing that album to country; you can read enough about my opinions regarding that on Twitter, and it’s really a separate issue. Regardless of your position, we are music fans first, and although I will not pretend that I believe this music is right for the country genre, and I firmly believe it is less deserving of the precious few slots that this broken system will allow women than many other more country-sounding women, traditional and modern alike, I will not bash a record simply because it isn’t my taste. Kelsea Ballerini’s latest album was, somehow, less country than this one, but i reviewed it as music first because it’s a pretty good pop record. Questions of genre distinction are important, but there are larger points being ignored here by both sides.

Simply put, this is not a very good album no matter what genre you label it. It’s not only that it doesn’t belong in country; in fact, that’s almost beside the point compared to all the other problems with GIRL. It’s mediocre and derivative lyrically and littered with bad production decisions. It’s also proof that bad music in the country format doesn’t just arrive via bro country or Sam Hunt’s style of spoken word, a case that uniqueness isn’t necessarily synonymous with quality.

The brightest spot on this record is the vocal ability of Maren Morris. Her phrasing and styling are certainly not country, but again, that’s a secondary concern. She’s a fine singer in a technical sense, and she has a pretty unique voice. She sings the more upbeat material with energy and personality, and you get the feeling that this is indeed mostly the record Maren wanted to make.

It falls terribly short, however, in the songwriting department. Some of these tracks do have great messages, but the actual execution is often empty and derivative, devoid of anything truly meaningful to say. Take the title track, for example, which offers a good message about not comparing women to one another and advises women to think positively and keep their heads high when life is hard. Certainly a worthy subject, but the writing itself is just so empty and generic. As a woman listening to this, I don’t feel inspired or empowered, not the way I do when Emily Scott Robinson sings of struggle and abuse, or when Angaleena Presley sings about the institutional sexism in the country industry and the way some women feel trapped in harmful marriages by archaic ideas. “GIRL” is just an empty, feel-good mantra that, even if it wasn’t intended to, comes across as pandering to the media and calculated and formulaic lyrically.

“Common,” a duet with Brandi Carlile about loving one another despite our differences, suffers from the same fate. Carlile sings the hell out of this, and I look forward to seeing what these two and Amanda Shires will deliver with The Highwomen, but this song feels shallow and underdeveloped, like it could have been so much more. Once again, it’s a good message that fails to really say anything in its execution, much like Carrie Underwood’s recent single, “Love Wins.” There’s nothing really wrong with either of these tracks, but both try so hard to appeal to everyone and bring a universal message that they ultimately don’t say anything important or lasting.

We also have several sex songs on this record, and sex songs are not inherently bad, but the God-awful production of “Make out With Me” makes this song absolutely intolerable. To add to that, it is literally written as a drunken voice mail, and I question whether or not a man could record this in today’s country format and not be called misogynistic, fairly or otherwise. “RSVP” is also just insufferable, especially with the word “gots” replacing “got” in the chorus to add R&B phrasing and further drive home the point that this is miles from anything you could reasonably call country. Once again,, a secondary concern, but it only adds insult to injury as you struggle through this album.

There are some better moments in terms of the writing, though. “Great Ones” is an interesting love song melodically and lyrically, although it is cluttered by the overproduction that unfortunately plagues this entire record. “A Song For everything” actually scales back the production enough to allow a relatable sentiment to connect with the listener, and here, Morris sounds invested emotionally and really sells the song. The idea that music can get us through anything is one that most of us can relate to, and it’s here in this more subtle moment on the record where Maren Morris makes a connection far stronger than with the empty platitudes of “GIRL” and “Common.” “The bones” is another of the stronger tracks, again helped by the emotional performance of Maren Morris and less clutter in terms of production.

That messy production renders a lot of the more mediocre tracks difficult to listen to. “All My Favorite People,” for example, a lively party song with Brothers Osborne that would be a lightweight, fun track on a better album, is just a disappointment here. There are some clever lines, but no one involved in this project could seem to resist producing the hell out of everything. It’s not random, cacophonous production reminiscent of Keith Urban’s latest atrocity of a record, but it adds unnecessary layers to everything until all the heartfelt sentiments that Maren Morris wanted to convey are lost. “To Hell & Back” and “Gold Love” are prime examples, two songs that might have been standouts if Morris didn’t sound lifeless singing them. As mentioned, she’s a great technical singer, but her heart doesn’t shine through on so much of this. It would be nice to see her personality as much on something more vulnerable like “Gold Love” as much as we see it on an energetic song like “Flavor.”

This is not about genre. As an artist, Maren Morris should have the creative freedom to make the record of her choice, and it’s great that she has. But the record she wanted to make just isn’t very good. It’s underwhelming lyrically, and much of its themes are too generalized and shallow to really make an impact. The production is cluttered at best and counterproductive to some of the songs at worst. Marketing this album to country is just the icing on the cake, and while we shouldn’t gloss over this fact either, the bigger issue is that this is just bad music in general. It’s not good pop music sorely mislabeled, it’s bad pop music with an unfortunate country label attached to it to rub salt in the wound. It’s not the genre-bending, inspiring blend of country pop it believes itself to be; it’s just another generic collection of songs that frankly, we wouldn’t even be discussing at all if they were being marketed to pop and it didn’t seem as if Maren Morris were courageously pushing some sort of arbitrary sonic boundary. Kacey Musgraves and Caitlyn Smith both made incredible albums in 2018 that pushed boundaries and fused the sounds of pop and country, but the difference is that these records were marked by unique, insightful songwriting and stirring vocal performances, helped rather than hampered by the production. GIRL boasts none of this; indeed, it offers nothing worth more than a passing glance, and in the vast music landscape of 2019, deserves to be forgotten.

The Decent

The Terrible