When I first heard "Every Little Thing," the debut single from Carly Pearce's debut album of the same name, I thought it was gorgeous, and was excited by the possibilities of the album — but then I never really quite returned to the song. When I got a chance to review Every Little Thing, each time I heard the music I was excited by what I was hearing — but like the song, it was well crafted for the initial jolt but lacked any staying power.
The surface cleverness of an initial line, the slide of a guitar, the push of the drum — all of this so exquisitely produced, so well tuned, but all absent after the laptop shuts down. I thought at first it was because it was so ingratiating — there's a song like Miranda Lambert at her most badass ("Everybody Got to Talk"), a song that flirts with soul like Thomas Rhett ("Every Little Thing") — but Pearce's voice is a little anonymous, a bit of a shadow to a production that never quite lands on something that feels genuine.
Ironically, for someone who sings a song called "Feel Something," Every Little Thing made me feel much less than the hope I felt for Carly Pearce or this album's potential.
(Big Machine)The surface cleverness of an initial line, the slide of a guitar, the push of the drum — all of this so exquisitely produced, so well tuned, but all absent after the laptop shuts down. I thought at first it was because it was so ingratiating — there's a song like Miranda Lambert at her most badass ("Everybody Got to Talk"), a song that flirts with soul like Thomas Rhett ("Every Little Thing") — but Pearce's voice is a little anonymous, a bit of a shadow to a production that never quite lands on something that feels genuine.
Ironically, for someone who sings a song called "Feel Something," Every Little Thing made me feel much less than the hope I felt for Carly Pearce or this album's potential.
