On the enjoyable ‘Cry Pretty’, Grammy-winning country artist Carrie Underwood balances out ‘tried-and-true’ country music and more contemporary pop.

Throughout the latter half of the 00s, Carrie Underwood was one of country music’s hottest commodities.  The victor of the fourth season of American Idol proved herself to be the total package – looks, voice, and artistry in itself.  While Underwood’s numbers have dwindled since her heyday, she remains a force in country music, not to mention a capable country-pop crossover artist.  Once more she brings some heat on her sixth studio album, Cry Pretty.

“Cry Pretty”

“Cry Pretty” reflects upon the aftermath of facial surgery Carried Underwood had following a bad accident, coping with insecurity. The pulse of the record is initially carried by guitar, panned to the right.  Drums and bass arrive later, confirming the lilting, six-eight meter.  After showcasing restraint on the first verse, Carrie Underwood reaches a fever pitch on the powerhouse chorus.

“You can pretty lie and say it’s okay
You can pretty smile and just walk away
Pretty much fake your way through anything
But you can’t cry pretty.”

Complementing her soaring vocals is dynamic, ‘souped-up’ production work.  This is country music (as opposed to country-pop) in the hands of one of its more skilled singers.  Underwood shows off some incredibly sick vocals, incorporating falsetto, grit, runs, and whelps.  By the end, Underwood ‘lets her rip,’ and it’s nothing short of glorious.  You can sense the authenticity.

“Yeah, the records are spinnin’ and the speakers are smokin’ / There ain’t no last call, I’m havin’ a ball with Hank, Haggard, and Jones / No I ain’t alone / I feel right home with my ghost on the stereo.” Underwood follows her home run “Cry Pretty” with another stand out, “Ghosts on the Stereo.” The record maintains a sound idiomatic of country, avoiding the ‘pop.’  Here, Carrie reminisces on old-school country artists, who are sufficient company for her.  Following “Ghosts,” she gets ‘low’ on the soulful, country slow jam, “Low.” Why is she so down in the dumps, despite soaring vocals? She wants her man – “Yeah, I’m low and blue / I’m so lonesome for you.”

“Backsliding”

On “Backsliding,” Underwood isn’t singing about matters of the soul, but rather continuing to engage with the thought of someone she said she wouldn’t anymore. “Backsliding” still retains elements of country, but there are more pop and urban cues compared to the three preceding numbers.  “Southbound” picks up the pace, bringing more of that Carrie Underwood attitude.  Sure, it’s not as potent as the likes of “Before He Cheats” or “Last Name,” but there’s still a sufficient amount of bite.

Underwood departs from country in favor of urban-pop on “That Song That We Used to Make Love To.” Perhaps it’s not a complete about-face with some country cues integrated (namely during the chorus), but this is definitely ‘less country’ than the majority of her discography.  It’s catchy and enjoyable enough.  She incorporates soul alongside her biting vocals on the high-flying balladry of “Drinking Alone.” Like “That Song That We Used to Make Love To,” it’s easy to envision the crossover appeal.  The argument can be made that “Drinking Alone” is the best song of the two.

“The Bullet”

“Through every branch of his family tree / Every birthday that he’ll never see / Every chance to live a good life that was stolen.” Deep, meaningful, and socially-charged. “The Bullet” is more in the Carrie Underwood country wheelhouse, incorporating (1) more country sensibilities and (2) a stronger, more meaningful narrative. “The Bullet” may not supersede the best records by Underwood, but it’s among the most accomplished moments of Cry Pretty.  “Spinning Bottles” remains heavier, even if it’s not as ‘heavy’ as “The Bullet.” It’s yet another ballad, yet, Underwood is typically at her best when the tempo leans towards fewer BPMs.

Of course, yet another ballad follows with “Love Wins.” In addition to highlighting the power of love and unity on the soaring refrain, “Love Wins” tackles faith, politics, prejudice, and the various struggles of a crazy world.  One of the best features of the record is the choir supporting Underwood’s assertive lead vocals.  “End Up with You” lightens the mood, bringing in a pop-infused sound and a more playful performance.  Penultimate record “Kingdom” shifts once more, favoring a narrative and slower pace. Like everything else, she sings it superbly.

“The Champion”

Fittingly, Underwood closes things out, chocked-full of energy on the pop anthem “The Champion”, featuring Ludacris. The first thing that listeners will notice is the attitude and grit exhibited vocally.  While it’s arguable that she forces things ever so slightly, it’s hard to knock that feistiness and intensity.  Not a smooth vocal by any means, but certainly resolute, proven on the epic chorus.

“I am invincible, unbreakable

Unstoppable, unshakeable

They knock me down, I get up again

I am the champion, you’re gon’ know my name

You can’t hurt me now, I can’t feel the pain

I was made for this, yeah, I was born to win

I am the champion.”

Ludacris brings some southern rap on the third verse, keeping things clean, positive, and tasteful.

“The C is for the courage I possess through the trauma

H is for the hurt, but it’s all for the honor

A is for my attitude working through the patience…”

Perhaps “Champion” is a bit sappy, but the good vibes and uplifting, winning message is undeniable.

Final Thoughts

All in all, Cry Pretty is another enjoyable, well-rounded album by Carrie Underwood.  Is it her best or more memorable? I’d say no, but it has some stellar moments, highlighted by the epic “Cry Pretty,” the reminiscent “Ghosts on the Stereo,” and the meaningful “The Bullet.”

Gems: “Cry Pretty,” “Ghost on the Stereo,” “Drinking Alone,” “The Bullet” & “The Champion”

Carrie Underwood • Cry Pretty • Capitol Nashville • Release: 9.14.18

Photo Credit: Capitol Nashville