Review: Maren Morris has the best voice in country music. She’s still learning how to use it.
By Chris Richards Chris Richards Pop music critic Email Bio Follow Pop music critic March 8 at 1:36 PM First things first, Maren Morris has the best voice of any country singer working today — a way of melodic air-walking that makes the “country” part of that assertion feel more debatable than the “best” part. She knows how everybody sings in Nashville, but she also knows how everybody sings everywhere else — which makes her phrasing feel so worldly, so wise.
On to the “country” part. Is it still worth debating whether this high-def music qualifies as country? As a vocalist, Morris takes her Nashville inheritance — vowels that curve parallel to a twang; legible, unambiguous lyrics — and sets them to tunes built with acoustic guitars, synthesizers and electronic percussion. If pop-influenced country bugs you, try thinking of her music as country-influenced pop. Then ask yourself if there’s any difference, or if that difference matters.
At least the concept of “A Song for Everything” feels worthy. In this age of musical hyper-abundance, there probably is a song for everything — and if there isn’t, lots of people are out there right this minute, working to fill in the blanks, transposing uncatalogued emotions into sound. We probably shouldn’t count on Coldplay to deliver the goods on that front, but maybe Chris Martin will surprise us someday. As for Morris, it seems almost certain that she’ll surprise us before long.
Yet somehow, this exquisite line gets blotted out by the misguided certitude oozing from the neighboring lyrics. “We got way too much in common, so what’s the point in fighting?” Morris asks repeatedly, before belting out the line that sinks her entire proposition: “With everybody talking, ain’t nobody listening.”
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