Monthly Archives: October 2018

Reviews

Album Review: Colter Wall–Songs of the Plains

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Rating: 6/10

Colter Wall could be a timeless voice of this generation, and I believe he will be. When I first heard his voice, coming straight out of the past and echoing the ghost of Johnny Cash, I got chills. And his stories match his voice; he weaves tales of hopping trains and plowing fields with a natural ease, and not dated by his language but rather enhanced by it, for his turns of phrase would seem more forced if he modernized them, a direct contrast to so many of his peers who seem to choose their words carefully and intentionally to evoke days gone by. But unlike so many of these–Joshua Hedley and Zephaniah O’Hora come to mind immediately–Colter’s not trying to revive classic country. He’s not trying to bring back the outlaw era, an exercise so worn out by now that the effort to be an outlaw has become a cliché. Rather, Colter Wall goes even beyond that, seeking to keep alive the oldest forms of country and folk music, going back to the days of Wooddy Guthrie and Roger Miller for his inspiration and preserving those primitive styles and traditions in his songwriting.

Songs of the Plains seems like a natural progression for Wall, an album made in tribute to his prairie homeland in Canada and featuring some traditional tunes from his home country as well as Colter’s originals. The idea is fresh as well, keeping Colter firmly within the parameters of what he does best while also dispelling the notion created for some by his last album that he could only sing about these things for so long and in so many ways before it became stale and uninteresting. Perhaps it is the power and magic of his voice, or perhaps it’s because people have been so starved for this sound and in some cases have never been exposed to it at all, but there’s no doubt that Colter Wall’s music is resonating with many and opening windows to the past. There was the concern that he’d be a niche performer, but that niche has made him unique and seems to be what many have been longing to hear, even if they didn’t quite know it themselves. Songs of the Plains doubles down on all of it, more sparse and primitive in numerous places than Wall’s previous efforts, and it should have been a fantastic listen.

Indeed, it could have been a fantastic listen. Certainly the opener, “Plain to See Plainsman,” stands out as a brilliant ode to the prairie and starts off the record in fine fashion. Colter Wall’s love for his homeland is on full display here, and it’s one of the highlights of the whole album. “Thinkin’ on a Woman” is an excellent moment as well, a classic country heartbreak song that should have been written fifty years ago when it would have been a mainstream hit. As for the covers, “Calgary Round-Up” was a great choice, and “Night Herding Song” fits in well after it, almost like an outro. It’s hard even to distinguish these as covers given how naturally they work on this album. And then there’s “Manitoba Man,” an original which comes out of nowhere near the end of the record to remind us all that Colter Wall’s voice is not just special for its timbre but also for its ability to capture raw emotion. I think this one may be overlooked among the other songs, and that would be a shame, for it’s definitely a standout here and in Wall’s young discography.

But too often, this album is just a scattershot, frustrating listen. “Wild Dogs” is the worst misstep, and although not Colter’s original work, it was a terrible choice for a cover and just makes for a very weird, unnecessary moment. The song itself is just awful and strange, but it’s not fair to dwell on the writing as much as the choice by Wall to cover it here. AS for Colter’s own writing, the lyrics are mostly strong, although some songs feel underdeveloped. “The Trains are Gone” is just boring and forgettable, and “John Beyers (Camaro Song”) just feels too short, as if Colter stopped writing in the middle of the story. Also, you can find the same melodic line in “saskatchewan in 1881” that was present in “Bald Butte” on his debut record. I enjoy both these songs, and this might be more easily excused if the same melodic line didn’t come up again in “The Trains are Gone.” It just seems like such a lazy songwriting decision and one which Colter Wall is better than making.

There are some lazy production decisions as well. On the surface, the production seems perhaps more interesting than that of his first full album, with harmonica and steel adding color to some of these tracks. Many criticized the production of Wall’s self-titled record as being too plain, too sparse, and even boring. Personally, I felt Dave Cobb did well by getting out of the way and letting the songs speak for themselves, and I enjoy the fact that Colter often needs nothing more than his voice and a guitar to bring those songs to life. But when you’re relying so heavily on a voice and guitar, the guitar work needs to be better. There is noticeable, constant buzzing of the strings in several of these songs, most obviously in “John Beyers (Camaro Song.”) This song, as mentioned, also seems too short, and the whole thing just comes across as unfinished and rushed. The buzzing guitar strings return in “Wild dogs” and in “Thinkin’ on a Woman” and really, in places all over this record. This is something you hear inevitably with acoustic guitars, and hearing it on occasion can even add to the live feel of a song, as the imperfection brings the human touch to the recording. But it is so constant in some of these songs that it becomes distracting, and the obvious question is why did Colter wall accept these recordings as the final versions he wanted to send out to the public? Once again, he is just better than this.

This record is ultimately just not up to the standards Colter Wall has set for himself. The idea behind it was fantastic, and there are some excellent songs on this album. “Plain to See Plainsman,” “Manitoba Man,” and “Thinkin’ on a Woman” particularly stand out as being timeless additions to Wall’s discography. But the album as a whole just feels rushed and underdeveloped. It’s a collection of little things, but all those small decisions add up to a finished product that seems unfinished. Clean this record up a bit, and it improves significantly. Just a little more care was needed to make this album what it could have been. The potential and talent in Colter Wall remain endless, but unfortunately this album as a whole falls short of that potential.

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Reviews

Amanda’s Radio Single Round-Up: Part 2

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Rachel Wammack, “Damage”

The debut single from Sony Nashville powerhouse Rachel Wammack is a lyrical masterpiece. Wammack sounds a bit like Carrie Underwood, and her voice is one of the main assets that makes this song so great. Another exemplary facet of this song is how well she sells the emotion of the song and tells a riveting, compelling story. As someone who has had her fair share of experiences with love, I really connected to “Damage”, enough to where I was in tears by the end of the song. The only minor issue is the production, as I think a bit more steel guitar would be very beneficial. I doubt this will be a hit as country radio generally refuses female artists, actual country music or anything of remote substance, but I’m rooting for Rachel. This song deserves to be a hit. Rachel should be proud of herself for this song, as it is fantastic. In a just world, she’d be a star.
GRADE: 8.5/10

Carlton Anderson, “Drop Everything”

Speaking of a just world, Carlton Anderson should also be a star. The debut single from Anderson is the type of music that should be on country radio.  The song details the narrator approaching a girl at the bar who is having trouble with her boyfriend, when the narrator asks her to “drop everything” and come home with him.  Although a bit weak lyrically and thematically, as we’ve heard this story half a dozen times, what the song lacks, it more than makes up for in the other categories. Sonically, it’s awesome. For those of you who have been introduced to country music through Sam Hunt, Kane Brown, and FGL, that thing you’re hearing is called a fiddle, and it sounds amazing. The production sounds like something straight out of Jon Pardi’s playbook, and that’s a compliment coming from me considering that I am a huge fan of his. Carlton is an excellent vocalist; take Josh Turner’s voice and bump it up a few octaves, and you’ve got Carlton Anderson. On top of those strong points, I’m willing to argue that this is the most fun song that has hit mainstream country radio in months. It’s one of those infectious songs that will have you singing along in no time at all. Unfortunately, I don’t look for this to be a big hit, due to the people running that Mickey Mouse operation so affectionately called “country radio”, who don’t think the general listening public actually want to hear country music. Newsflash: we do. Since Carlton Anderson leans more squarely towards early-mid 2000’s neotraditional country goodness instead of pop bullshit, he will be one of the few male artists country radio will most likely ignore, and that fact really sucks, because in a just world, he would be a major star. While radio isn’t likely to eat this up, fans of Pardi, Turner, and actual country music in general will love this. Because THIS is what we should be hearing on country radio, not Kane Brown, Bebe Rexha, Sam Hunt, and the like.
GRADE: 7.5/10

Walker Hayes, “90’s Country”

Can we please trade this guy for the 2011 version of Walker Hayes? My personal hands-down winner of “Worst Album of 2017” (I dare you guys to listen to “Boom.” and tell me how far you get through it. Just kidding. But I am curious.) and runner-up of “Worst Song of 2017” (He would have won if not for the monster impact of Sam Hunt’s “Body Like a Back Road”; don’t get me wrong, Sam Hunt’s abomination is horrible, but what Hayes put out last year was one million times worse) for the god-awful “You Broke Up With Me”. After the seemingly commercial failure of “Boom.”, Hayes is back with a song about 90’s country music—which has absolutely fucking nothing to do with 90’s country music. It’s another mindless pop song with a ton of name drops. I can imagine Hayes and Shane McAnally’s meeting regarding this song went something like this:

Walker Hayes: Yo Shane!
Shane McAnally: What Walker?
WH: You know what would be a great idea for a country radio hit?
SM: Whatcha thinking about, Walker?
WH: A lot of people seem to be nostalgic for the country music of the 90s. I know! Let’s name drop a bunch of song titles and set them to a beat! It’ll be great, Shane! Just great!!
SM: *Sees dollar signs*
WH: *Googles “popular 90s country hits*
5 minutes later, this clusterfuck of a song is born.

Basically, Walker Hayes just name-drops a bunch of country hits from the 90s, and some of the lyrics are just so cringe-worthy (girl, you know you think my tractor’s sexy). However, kudos to Hayes for referencing “Jukebox Junkie” (a semi-obscure Ken Mellons hit) and for the song being catchy. With that being said, “90’s Country” still sucks.
GRADE: 1/10

RaeLynn, “Tailgate”

I would love to live in a world in which we can enjoy female voices on country radio. Carrie, Miranda, Ashley Monroe, Kacey Musgraves, Aubrie Sellers, Ashley McBryde, Sunny Sweeney, Margo Price, Angaleena Presley, Brandy Clark, Lori McKenna, Ashley Campbell, Lee Ann Womack, Sara Evans, Reba, Cam, Carly Pearce, Rachel Wammack, Tenille Arts, Tenille Townes, Mickey Guyton, Maren Morris (arguably), Maddie and Tae, and Runaway June are all awesome, unique, and should have a place on country radio. We need to hear more from the strong female perspective on country radio, and the ladies I just listed would be the ones to deliver on that promise. RaeLynn could be a great addition to these ladies, as she did give us the awesome “Love Triangle” in 2017. However, this perspective shown to us in “Tailgate” is exactly what we don’t need. In short, this is just female bro-country (and to mention, “Tailgate” was written by one of the ever-so-lovely founders of bro-country, Tyler Hubbard himself, and bro-country has-been Canaan Smith as well). (The extent of female bro-country is demonstrated even further with the video, which will most likely make your blood boil, fair warning). Honestly, RaeLynn, bro-country is so 2013. This shit should have gone away at least four years ago. RaeLynn is talented, but you sure wouldn’t know it from this offering. “Tailgate” is absolutely terrible and immature, and is honestly not even worth your time.
GRADE: 0/10

Lauren Alaina, “Ladies in the 90’s”

Guys, this is it. We have officially hit below rock bottom in mainstream country music. This right here is one of the worst songs you will hear all year, right next to Bebe Rexha and FGL’s “Meant to Be”, Morgan Wallen/FGL’s “Up Down”, and Kassi Ashton’s “Taxidermy”. This is the kind of shit that makes Walker Hayes listenable, and makes Sam Hunt sound like George Strait. And what a damn shame this is, because last year, Lauren Alaina delivered one of my favorite albums of 2017 with Road Less Traveled. This is nothing short of horrid and embarrassing, and is sure to piss off any true fan of country music. I would rather listen to “Body Like a Back Road” on repeat for an entire month than to ever here this clusterfuck again. The lyrics and production of this thing are bottom of the barrel. “So I can sing all night long, acting like I’m Britney”? Really, Lauren? Girl, have some pride. Referencing Britney Spears in a country song just shouldn’t happen. Like Walker Hayes, Alaina references and name-drops some of the most cliché songs of the 90’s (although Cowboy Take Me Away is amazing and Fancy isn’t half bad either). But unlike Hayes, she doesn’t stick to just country—she references straight up pop songs—in what is supposed to be a country song. Also unlike Hayes, this isn’t catchy at all. It’s flat-out horrible on all ends. The production sounds like a cross between some song you’d hear on a Disney Channel tween program and the annoying background music at Chuck E. Cheese, when you’re stuck at your little cousin’s birthday party with a horde of sugar-crazed, pizza-stuffing, screaming, bouncing off the walls six-year-olds. Lauren, if your heart will always be stuck in the 90’s, why don’t you build yourself a time machine and take yourself back. Maybe Lee Ann Womack, Trisha Yearwood, and Patty Loveless will teach you how to make some quality country music. I was previously a fan of Alaina’s before this and her duet with the scourge of 2018 mainstream country, Kane Brown, and I am extremely disappointed. Look, I’m all for more women on country radio. I’d love that. I’d love if country radio was dominated by women. But I’m begging you, people on social media and people on country radio, for the love of God, Please. Stop. Trying. To. Make. “Ladies. In. The. 90’s”. A. Thing. Instead of rallying around this steaming heap of trash, we should be rallying around the Pistol Annies and their great new single, “Got My Name Changed Back”. This song is absolutely horrible, and Lauren Alaina is much better than this. Hopefully, the album will be much better, but when this is what you’ve got to work with for a lead single…and you say yourself that it is your “favorite single you’ve ever done”…it doesn’t look too promising.
GRADE: 0/10

Reviews

Amanda’s Radio Single Round-Up: Part 1

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Amanda’s Radio Single Round-Up — Part 1

Tenille Arts, “I Hate This”

The debut single from Canadian-born Reviver Records recording artist Tenille Arts is definitely a solid one. “I Hate This” blends a voice reminiscent of Carly Pearce with a heavily acoustic-based production, complete with prominent dobro. Lyrically, it’s very relatable: the song is describing a relationship in which the couple is taking a break, and it’s nearly killing the narrator, as she still loves her boyfriend and hates this period of separation. The softer production and solemn emotional content of the song really make “I Hate This” a great song, and a great choice for a debut single. Of course, it probably won’t be a mainstream hit as country radio unfortunately doesn’t take too kindly to females and their commercial success in the format, but please don’t let their closed-mindedness stop you from giving this one a listen. It truly is as good of a song as you’re going to get from the mainstream these days. I can’t wait to hear more from Arts.
GRADE: 8/10

Tenille Townes, “Somebody’s Daughter”

Another Tenille, another debut single. This time around, it comes from Sony Nashville’s Tenille Townes. “Somebody’s Daughter” is the narrator’s account of her observation of a homeless young woman. The lyrics are very heartfelt and strong, encouraging the listener to take compassion on the young woman, as she is “somebody’s sister, somebody’s best friend, somebody’s high school best friend, somebody’s daughter”. Townes reminds listeners that everyone has a story, and the narrator of the song wonders about the subject of the song. While the lyrical content is solid, the production is a bit of an issue. Maybe it’s just me, but the production of this song seems a bit loud and cluttered, and takes away from the message and story of the song. Nevertheless, it’s still solid and still worth checking out.
GRADE: 7/10

Tim McGraw, “Neon Church”

Tim McGraw is back. On the heels of his awesome Damn Country Music, and releasing a duets album with his superstar wife, Faith Hill, Tim has released a new single, the lead single from his upcoming album, to country radio. For starters, the lyrical quality of this song is stellar. The narrator of this song is completely heartbroken, and compares the bar he is sitting at to a church setting. Quite the juxtaposition, and at first glance, McGraw’s song reminded me of Maren Morris’s “My Church”, a song I really enjoyed. The lyrics are very descriptive and interesting, but the production is where this song really falls flat. Much like the aforementioned “Somebody’s Daughter”, the production sounds clunky and cluttered, and to add, really distorted sounding. Whoever produced this should have their producer title taken away from them immediately. This was a great idea for a song marred by terrible production. However, it is still above average and will be one of the better songs at country radio currently.
GRADE: 6.5/10

https://m.youtube.com/watch?v=vIQUfinukh4

William Michael Morgan, “Tonight Girl”

Oh boy. I really wish I had better things to say about this. This is the review I thought I’d never have to write, and after hearing this song, this was the review I dreaded writing. Morgan heavily impressed me with his 2016 debut, Vinyl, which was full of awesome traditional country goodness. Vinyl was hands down my favorite album of that year, and it is still on repeat for me. Seriously, if you have not yet checked out “Missing”, “Lonesomeville”, “Cheap Cologne”, and “I Know Who He Is” (warning, you will need to break out the tissues for that last one), you are missing out on some killer music, and you need to give them a listen as soon as possible. “Lonesomeville” was far and away my favorite song of 2016. Morgan truly set the bar high for himself with those four songs, and with the album in general. Friday marked the release of the lead single of his upcoming sophomore album, so did he live up to his potential? Not even close. This song sounds like literally every other boring male-led generic song on country radio currently. Morgan is capable of, and can do so much better than this, and everyone knows that. Hopefully this is the worst song on the album. Also, what the hell is up with that annoying whistle sound throughout the track? I refuse to believe this is the same guy who recorded “Lonesomeville”. Where is the steel guitar? Where is the fiddle? Where are the heartfelt lyrics we witnessed on his debut album? None of them are here. This is just another boring, pop-ish, dime-a-dozen, generic song. The lyrics are generic, and the production just isn’t good. Morgan is capable of so much more. He could be the next generation’s George Strait, when he is being himself and staying true to his style of music, instead of chasing radio trends. If this keeps up, looks like Jon Pardi will have to fill that role. Even Pardi’s worst songs (cough cough “Dirt on My Boots”) maintain some sort of country element. It truly saddens me that I have to give him this kind of feedback, and this score. I hope for the rest of the album, he will stay true to himself and do what he does best, which is record kick-ass neotraditional country. The last thing we need is another Dustin Lynch.
GRADE: 3/10

Tyler Rich, “The Difference”
Who? Speaking of sounding like every generic male on country radio, here’s a prime example. The dunderheaded folks operating mainstream country radio would like to present you with the 75th example of a faceless generic pretty-boy male singer singing lightweight, boring pop bullshit, because you know, nobody wants to hear actual country singers, female artists, or just artists who prefer substance over style in general. All jokes aside, if you’ve heard one, you’ve heard them all. The one thing that sets this song apart from all soundalikes in the worst way is the horrid lyric in the first verse: “I want you to be my hottie riding shottie, I don’t want nobody’s body but your body, babe”. Whoever thought “hottie riding shottie” was a good idea for a lyric in a song should have their songwriting privileges immediately taken away. This is another creative failure that will most likely be a hit at country radio, unfortunately.
GRADE: 0/10

Reviews

Album Review: Eric Church–Desperate Man

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Rating: 9/10

At this point in his career, we all know that Eric Church isn’t really a country artist. His music is and always has been more correctly labeled as roots rock. But that’s not really the point anymore with Church, unless perhaps you’re a firm traditionalist who is only interested in music soaked with fiddle and steel. The bigger point with Eric Church is that in a mainstream full of compromise, he remains his own man, and in a world of drum machines and watered down lines, his records are organic sonically and intelligent lyrically. It may not be very country–although the songwriting on this record and even the instrumentation in a few places certainly can be argued as such–but Desperate Man is firmly and unashamedly roots music, with bluesy interludes and extended guitar solos, and radically different from the majority of major label albums, certainly different from those albums that are still somewhat radio-supported. Eric Church has not abandoned radio, or maybe it would be more accurate to say radio has not abandoned Eric Church, but you get the feeling listening to this album that airplay is a secondary concern, the primary ones being appealing to his fans, and most importantly, doing whatever he damned well pleases.

The rootsy, organic nature of this record is so refreshing. It’s not experimental to the point it loses sight of itself like much of The Outsiders, but the instruments are allowed to breathe more so than on Church’s last record, Mr. Misunderstood. Desperate Man balances the feel of those two albums well, finding and keeping the best elements from each of them. This record finds Church more sure of himself and his sound than ever before, and although there are varying influences, it feels less like the aimless wanderings of The Outsiders than just simply trying to correctly interpret each song and capture the right mood and style to fit the lyrics. He’s never in a hurry to get to the point, often meandering through various chords and guitar licks before settling into the groove of a song. The album opener, “The snake,” introduces the record with over a minute of bluesy guitar picking before any other instruments join the party. “Heart Like a Wheel” wanders through dissonant chords and arpeggios before sliding into its groove and selecting a key, and “Solid” features almost an instrumental prelude of drums and electric guitar flourishes ahead of the actual song. These are little things, but they really enhance the record, giving it a cohesive, continuing feel all the way through and further stressing the point that this isn’t your typical mainstream record full of artificial drumbeats and electronic sounds. These are actual musicians playing actual instruments and giving the album a bit of a live feel.

And you can say Eric Church isn’t country, but it’s hard to classify a song like “Jukebox and a Bar” as anything else. Sure, crying steel is replaced with electric guitar licks, but this is your classic country heartbreak song about drowning sorrows in a bottle. “Some of It” and “Hippie Radio” feature prominent acoustic guitar and country songwriting, the former detailing all the lessons life teaches you on the journey, and the latter being a story song revolving around the radio and how the different songs became the soundtrack of the narrator’s life, from driving around with his dad to starting a family of his own years later. Both of these could be accidental radio hits as well, fitting the format without compromising anything lyrically. “Solid” is another one that’s very country thematically; basically, think of a remake of Dierks Bentley’s “I Hold On.”

Vocally, Church just reaches a different level on this album. It’s like all the passion that we knew existed and which came out from time to time on his previous records finally reaches its full potential here. He slays the title track vocally, doing great justice to the songwriting of Ray Wylie Hubbard and singing with the same kind of fierceness and intensity that you can imagine Hubbard employing. This one is both better and worse in the context of the entire album–better because it fits the mood of the whole thing so well and worse because it’s not really a standout of the record. Church’s vocals are also on fine display in “Hangin’ Around,” the least country but also the most infectious tune on the album. He does a nice job building throughout “Heart Like a Wheel,” a song about opposites attracting that’s infused with some blues and soul. “Higher Wire” nearly stretches his range too far; it still works, but it admittedly may have worked better one key lower. Still, the strain goes well with the lyrics about this love that’s addicting and out of control.

Listening to this album, you keep waiting for that one obvious commercial single, but it doesn’t come. There’s no drop in quality lyrically and no compromise in the sound. Not every song is fantastic, but every song is good, and each belongs on the album. Desperate Man is eleven tracks and thirty-seven minutes long, with no filler and avoiding the mainstream trend to cram in as many songs as possible. Not only did Eric Church make the record he wanted to make, but the record he wanted to make was a damn good one. We should be both shocked and thrilled that this came out of the mainstream in 2018 and recognize it as a victory for artistic freedom and growth as well as one for organic roots music and quality songwriting. As for Church himself, this album signifies him finding his place vocally and sonically, releasing a record that not only stretches boundaries but also knows what it wants to be and carries out that vision well. This may not be for everyone, but again, that’s not really the point. It’s the album you want from Eric Church, the best of his career and certainly the strongest to come out of the mainstream this year.

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Reviews

Album Review: Bri Bagwell–In my Defense

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Rating: 7/10

In a just world, Bri Bagwell would be a mainstream country star, and this album would be certified gold. It probably could have done that in 2004. It’s firmly country, but laced with elements of pop and rock so that it would fit well on mainstream radio. It’s hook-driven and catchy, yet it doesn’t insult the intelligence of the listener. It’s at once thoughtful and accessible, personal and universal, authentically country but still commercial enough to appeal to a wider audience. And yet, Bri Bagwell remains fiercely independent and unfairly obscure, fighting to be heard in a Texas scene where success for women is arguably harder to come by than in Nashville.

This album is a great case for the value of pop country, for the fact that commercial appeal doesn’t necessarily mean a drop in quality, and perhaps most of all for the care for song craft in Texas music. Now, there’s some truly awful music coming out of Texas and Oklahoma; don’t be one of those people who just thinks music sounds better when it’s not made in Nashville and is no longer a discriminating listener. But generally, much of the more commercial side of Texas country does tend to be more substantive than mainstream Nashville, and this record is a great example of that. It’s not trying to reinvent the wheel, and you won’t get something groundbreaking lyrically, but the hooks are strong and clever, and this is exactly what you want from an artist like Bri Bagwell.

As mentioned, the hooks are the strongest asset of the record, and none is more interesting than in “Cheat on Me,” where Bagwell opens the song with the immediately intriguing line, “I wish you would cheat on me.” She goes on to reveal that basically, she knows she doesn’t love this man, but he hasn’t done her wrong, so she feels bad hurting him. If he would just cheat on her or lie to her, she could leave without breaking his heart or feeling guilty. It’s a really blunt way of putting things, but if we’re honest, I think many of us have probably felt similarly at one point, dreading having to hurt someone for whom we care deeply, or wishing we loved someone back but knowing it will never happen.

“As Soon as You” is also really well-written, with lines like “as soon as you try to fence me in, I’m breaking loose” and “as soon as you bring up a ring, I’m nowhere to be found” explaining that she’s just not ready to settle down. Then we get the chorus, where she admits that “if you wait patiently, eventually I’ll wanna say I do, I just won’t get there as soon as you.” In a complete antithesis of this song, we have “Feel Like Home,” in which she’s the one trying to convince the man to settle down, saying, “if you don’t slow down you’ll never know if a house could ever feel like home.” I enjoy both of these songs, but they are a bit troubling in light of each other; the former feels more personal to Bri, and she has said the whole album is quite personal to her, so it makes the latter song feel slightly out of place. Individually, however, they hold up as two of the strongest tracks on the record.

Most of these songs are upbeat, but it’s nice to see a softer, more tender side to Bagwell toward the end of the album. In “Ring a Bell,” she’s singing from the perspective of the other woman, lamenting their choices to commit adultery and ruin three lives. There’s a really cool little nugget of songwriting here in the line, “you took the ring off your hand, put it in the one nightstand, next to the King James.” The album closer, “Empty Chairs,” finds Bri at her most vulnerable, as she sings of the ups and downs of being in the spotlight and asks God to be there with her even on the nights when she sees empty chairs from the stage. This is her pouring out her soul, even going so far as to admit to finding her worth in the number of tickets she’s sold. It’s just a deeply personal confession, and it’s a privilege to the listener to be let into her delicate head space here.

Bri Bagwell’s vocals are definitely a strength here. She displays a pretty extensive range and shows both technical skill and the ability to interpret a lyric. Here’s one more artist in the independent scene proving vocal ability still matters as much as a good piece of songwriting. That said, she lacks something distinctive about her voice to really make her stand out. It comes out in flashes, like in the slight rasp in “If You were a cowboy” and “Cheat on Me,” but I’d like to see her develop it more. That quality in her voice is really unique and would serve her well if she used it to her full advantage.

There isn’t a bad moment on the album, and nothing feels like filler, but the weakest point does come in the heart of the album, with “I Can’t be Lonely” and “Graffiti.” These are both breakup songs, and both are fine, but neither really has a strong hook like the rest of the tracks. Bri Bagwell’s vocals make these songs better, but neither of them are very memorable. You won’t skip them, but they won’t be the ones you keep getting stuck in your head either.

This is just a really solid, well-written, wonderfully sung album. The hooks are smart, the melodies are memorable and engaging, and Bri Bagwell is a strong vocalist with range and power. This is exactly the kind of record I would love to see in the mainstream in 2018. A nice slice of modern country for those who appreciate a good lyric but still like a more contemporary sound. Go check this album out, and get to know Bri Bagwell.

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