Maren Morris is a pop-country singer from Nashville, Tennessee. She debuted with a self-titled EP in 2015 which found massive success and put Morris on the map and landed her a deal with Columbia Records. The EP was rereleased on the label with yet another wave of positive reception and kicked off a tour as a supporting act for Keith Urban. In 2016, she released her debut LP, Hero which was yet another impressive success. The album peaked at number five on the Billboard charts and netted four Grammy nominations including Best Country Album and a win for Best Country Solo Performance on “My Church.” Early this month, Maren was announced as a third member of the supergroup, The Highwomen, joining forces with Brandi Carlile and Amanda Shires with a fourth slot filled by a revolving door of women, including Sheryl Crow and Margo Price among others. With her career booming, Maren Morris’ second LP, GIRL is here, and it’s a bit of a mixed bag.
It’s clear from the first moment that Morris is perfectly willing to experiment on this project. The opening title track and the closer, “Shade,” are especially notable, both for their genre-bending styles and their fairly unique chord progressions. She’s certainly not reinventing the wheel, but what small risks she does take pay off thanks to a full commitment on each cut and the refreshing nature of hearing a new idea in modern, mainstream country.
Melodically, this album is extremely listenable. Tracks like “Gold Love,” or “To Hell & Back,” will be stuck in your head for days thanks to Maren’s ability to write extremely singable vocal lines. While much of the instrumental work behind her is a bit cookie cutter, Morris’ work picks up much of the slack.
This brings us to what is, by far, this records strongest quality and, at a few points, its saving grace. Maren Morris’ vocal performances are purely excellent. Even on a relatively silly song like “The Feels,” every second is believable because of her passion and energy. The same is true for “Great Ones,” later in the tracklist. Yet again, we have a song that is fairly forgettable if not for the powerful and dynamic voice leading it.
This being said, much of the record comes up mixed for me and the lyrics are one such area. Perhaps the best song on the entire project, “A Song for Everything,” is exactly what I ask for from this kind of an album. We have a unique theme, a few quirky turns of phrase, and an overall fun listen. Much of the album, however, feels somewhat lazy and rushed, with several lines coming off as cheesy and shallow.
Instrumentation, on the other hand, is almost uniformly weak across the entire runtime. Aside from the Brothers Osborne feature on “All My Favorite People,” essentially every other second of the album is completely uninventive and thoughtless. “Make Out With Me,” is likely the worst offender here as its structure seems to evoke the kinds of lush, orchestral arrangements of artists like Amanda Shires and Sturgill Simpson, the actual education just leans on a boring, shallow synth and a few cheap sounding violins.
Even worse than this is the production. Tracks like “Flavor,” and “Good Woman,” feel totally lifeless, not to mention the poorly placed effects. This is especially irritating on a song like “Common,” where strong lyrics and a fairly enjoyable Brandi Carlile feature are ruined by flat mixing and boring production.
Branching off from the production comes the record’s worst quality: the over reliance on bottled, looped drums. This is a pervasive trend across country music, largely driven by acts like Florida Georgia Line, in which a real drummer is replaced with computerized drums. The goal is to save money and modernize the sound a bit, but instead it sucks the life out nearly every track on which it’s tried and the same is true for GIRLS. “RSVP,” and “The Bones,” are especially egregious, but nearly all of this album suffers as a result of this choice.
All in all, GIRLS is a fun listen. It’s a good sophomore project for Maren Morris and she puts in quite the effort, but it’s undercut by a lack of such effort from everyone else involved.
GIRLS is at times fun, at times disappointing, but at every turn frustratingly less than what it could have been.