Carrie Underwood’s loyal fans will only be crying happy tears today, because the singer’s sixth studio album Cry Pretty is officially here! The 13-track LP is a smart, well-rounded follow up to 2015’s Storyteller, which sees Underwood slightly dip her toes into a pool of new musical styles without abandoning her pure country roots. We break down Cry Pretty, track-by-track, below.
“Cry Pretty” – The album’s title track and lead single is Underwood at her most vulnerable yet. “Cry Pretty” is a soaring power ballad that showcases her impressive vocal range but lyrically reminds listeners that country’s reigning queen is flawed too. It’s a brilliant opener that sets a mature tone for the rest of the record.
“Ghosts on the Stereo” – What’s a better remedy for heartbreak than getting lost in good music? “Ghosts on the Stereo” celebrates music’s healing powers, with Underwood paying homage to country greats Hank Williams, Merle Haggard and George Jones as the titular ghosts. It strikes up a perfect balance of pain and optimism, with an easy mid-tempo beat perfect to stomp your feet to and sway-inducing guitar riffs. Color it an understated highlight of the album.
“Low” – After a bit of a dragging, slow start, “Low” finds Carrie Underwood right in her wheelhouse: unapologetically belting out songs. It makes a seamless musical transition from country blues to powerful rock, making it a treat for curious ears.
“Backsliding” – The familiar concept of not being able to quit a lover despite best efforts is covered in this pensive track. Underwood’s vulnerability from “Cry Pretty” again comes through in her voice, particularly in the booming chorus that covers the dangerous cycle of falling back into a relationship that is best to move on from.
“Southbound” – This feel-good party anthem takes sunny inspiration from Kenny Chesney to give Cry Pretty’s predominantly serious tones a quick break to dance and throw your hands in the air. It may not be a typical Carrie Underwood track (she rarely sings about “redneck margaritas”), but certainly makes for a fun, welcomed change.
“That Song That We Used to Make Love To” – In her first crack at producing, Carrie Underwood incorporated a surprising R&B sound with the sultry “That Song That We Used to Make Love To.” At times it tends to be too glossy and takes away from the singer’s natural vocal chops but you’ll have to hand it to her for experimenting with a different sound, for better or worse.
“Drinking Alone” – Misery loves company, as indicated by the bluesy “Drinking Alone,” which depicts two strangers jilted by love drowning in their sorrows at a bar. The lyrics are rather comical in nature but the soaring melody and Underwood’s gritty voice turn this lovelorn song into something much bigger.
“The Bullet” – Dubbed by Underwood herself as “a song too powerful and too important not to do,” “The Bullet” is an equally heartbreaking and honest track focused on the issue of gun violence. It’s in line with her tried-and-true storytelling strengths, but is especially moving given the ongoing debate over guns in today’s political climate.
“Spinning Bottles” – The 35-year-old Underwood has tackled the subject matter of alcohol abuse in past singles “Blown Away” and “Church Bells,” but it’s “Spinning Bottles” that is perhaps her best effort. Delicate piano drives the ballad as it depicts the damaging toll addiction can take on a relationship, referring to it as “a game nobody wins.”
“Love Wins” – In an era where it’s nearly impossible to stay silent on the growing social and political divide, Carrie Underwood makes her own musical statement with this empowering track. Frustration over the times is evident as she sings “politics and prejudice, how the hell’d it ever come to this” in the opening verse before building into the uplifting, titular message. You can already picture glowing cell phones swaying through the air in unison when Underwood belts this one out in concert.
“End Up With You” – Carrie Underwood channels a current Taylor Swift in this rare venture into the pop world. “End Up With You” features catchy hooks and makes for a fun, light three minutes but ultimately falls flat compared to the rest of her strong country collection.
“Kingdom” – Underwood is no stranger to including personal songs focusing on her family on her records, and “Kingdom” is Cry Pretty‘s chosen track. It reiterates the belief that a house is not a home, as the singer lists off all the loving memories that turn an ordinary house into her family’s own kingdom. Riddled with a choir on the chorus, “Kingdom” is also the album’s most faith-based track, making it a safe yet smart closer for the Christian country star.
“The Champion” (feat. Ludacris) – Underwood released “The Champion” back in January as a promotional single for Super Bowl LII. While her and rapper Ludacris are an unlikely pairing, the collab works surprisingly well. It’s not necessarily a standout among Underwood’s country career, but considering her other ventures as the voice of Sunday Night Football’s theme and a fitness fanatic, “The Champion” makes perfect sense.
Which track from Cry Pretty is your favorite? Let us know in the comments below and get tickets to Carrie Underwood’s Cry Pretty Tour 360 here.