Momentum and opportunity are two drivers key to the
process of seeking success in the music industry. The latter opened doors for
Ashley McBryde after over a decade of playing out the archetype unsigned
Nashville singer-songwriter narrative, while the former is about to ignite in
the shape of GIRL GOING NOWHERE. This debut album blows right through the
country music mainstream like a breath of fresh air without doing too much
radical. Maybe view it as a conciliatory record within the contest to save
country music, although an act of appeasement is an incidental observation
among a rack of eleven songs strengthened by a high tensile outer and similar core.
What makes this record soar up the scale is that its high
spots build up so much credit to iron out casual imperfections that could mould
it into something more personal for the listener. The inevitable lack of steel,
fiddle or banjo twang from a Warner Nashville release does not bow to a
traditionalist desire, yet such is the utmost sincerity that the oversight is
pardoned. Likewise, there is no real dash to court a trend outside the country
confines and thus alienate a loyal base of devotees. The team behind this
record, including producer Jay Joyce, must be commended for getting the
tinkering and guidance generally right and allowing the undoubted talent of
Ashley McBryde to shine brightly from start to finish.
This album has had a lengthy introduction to the wider world
since its cracking heartbeat ‘A Little
Dive Bar in Dahlonega’ was unveiled in the middle of last year. This track
is so much more than the proverbial ‘jewel in the crown’ and is a country song
for all ages. In the week ahead of its Good Friday release (the most
appropriately titled of days), nearly half of the content is freely available
on the streaming sites and a raft of videos exist including national TV and
Opry appearances. UK audiences had the presence of Ashley at the recent Country-to-Country
Festival and hopefully, this is just the beginning of a lengthy love affair
with our Isles.
With so much of the album previously out there, the most
anticipated task upon receiving the full complement was to check out the six
newer tracks. Heading these was the only solo write present and a superb effort
to boot in ‘Andy (I Can’t Live Without
You)’. A gorgeous stripped down song that allows Ashley to retain ultimate
control. The other eyebrow raiser among this dozen is the straight up rocker ‘El Dorado’, which strays deeply in
Springsteen territory in the melody attached to the verses. But like so much of
the album, it works, even if the rock element throws in a slither of potential
doubt. An infectious newbie brings up the album’s rear with Ashley in heartfelt
motivational mode as she pours every sensitive sinew into ‘Home Sweet Highway’.
A vital contemporary feel to the sound brings in fans of
Miranda Lambert and Kacey Musgraves, while its generational spin at least goes
back to Martina McBride and Lee Ann Womack. It is good that Ashley’s song writing
is fully embraced with a co-hand in each one outside the aforementioned solo
piece. Of course the lead off and title track ‘Girl Goin’ Nowhere’ jumps out from the pack, especially
considering the back story of an Arkansas girl following her dreams while leapfrogging
an obstacle course of barriers.
While on the topic of what we already know, ‘Radio Land’ is an infectious romp
through the obvious, but full credit to getting tractor and Townes Van Zandt in
the same line. In a similar vein, getting Kennedy and Monroe namechecked in ‘American Scandal’ draws attention to a
semi-epic song that evolves into one of personal interpretation. ‘Tired of Being Happy’ is the final
pre-available song and a mischievous slant on the time honoured country music
DNA trait of putting ‘good ole cheatin’’ at least on the table. Here, like
continually throughout the record, the vocals sparkle with a southern charm,
echoing strength, sadness, hope and gratitude. In other words, they make a
critical incision.
The three remaining tracks return to the new category and
form a thread at the heart of the record. ‘Southern
Babylon’ starts the run in a sultry dark mood as we head in another
storytelling direction, which glues your ears to the narrative being revealed. This
is followed by ‘The Jacket’, dripping
in nostalgia and that everlasting country music trait of keeping the song
writing clear and meaningfully explicit. Another example of the temperate production
doing the job. ‘Livin’ Next to LeRoy’
takes you right into the earthy roots of country music song mining with its
character development.
GIRL GOING NOWHERE could be the most important release by a
mainstream Nashville label this year, especially if you apply any factors
relating to gender politics. A record which funnels the listener straight into
its strengths, and there are plenty. Ashley McBryde has created a mightily impressive
album that endorses the apparent momentum being built. Where it leads her who knows,
but being on board is a ticket not to be missed.
www.ashleymcbryde.com
