Within the first four tracks of this debut album from Hannah Ellis, a striking resemblance to Maren Morris, Ashley Monroe and Miranda Lambert illuminates the landscape, and that is just for associated starters. Maybe it's just tried and tested ears that relate to the fare dialled up from the latest artist transitioning out of the co-writing set to being fully upfront and possessing full belief that a talent can travel far. Nashville label Curb Records have afforded THAT GIRL the optimum space for Ellis to show her worth and a bright and breezy totemic country pop album is the outcome. Challenges come thick and fast for records like this. Formulaic radio often preserves its own templates, while alternative visions of a genre's soul may need microscopic assistance here to fuel an ideal. Evidence mounts that a third way triumphs in a lush textured release primed for the soft ear while retaining organic intent and an eye on channelling modern trends.
Kentucky-raised Ellis has a hand in the writing credit on all thirteen tracks and is astute enough to avoid song wastage. From whichever angle is approached, merit is aplenty with the art of not funnelling the content down a narrow channel successfully achieved. Gender plays a major part (no more significant than title track 'That Girl') without any alienating tendencies. Perhaps in contrast to more defined material spilling out of mainstream Nashville.
From its blockbusting opener 'Country Can', where inspiration is surely derived from Maren Morris's 'My Church', to the sincere gentle swaying closer 'Too Much and Not Enough' which echoes a style finale framed by Kasey Musgraves over the years, the peaks generally smooth out to leave a constant high. These two tracks are among half a dozen to surface ahead of the full album release, an increasing trend in these digitalised days.
Joining them from the opening quartet are the impishly joyful 'Wine Country' - the type of fun song that could be a Miranda Lambert deep cut- and the refreshingly catchy 'Us' that from one angle resembles Ashley Monroe buoyantly blasting out 'Onto Something Good'. The other two early offerings come next in track order succession with the emotive ballad 'Someone Else's Heartbreak' and the wryly slanted 'Karma on the Rocks'.
'Still' sits pretty at the numerical core of the album allowing for some soul searching before reverting to type with the conclusion, while 'Replaceable' is another that wouldn't sound out of place in the lower reaches of a recent Miranda Lambert album. 'Somebody Else' serenades at a generally lower tempo leading into the dream-laden 'Plans' with its idealistic nature.
The pick of the new tracks getting their unveiling on album release day is the proudly sung and keen spirited 'Home and Hometown', a semi-anthem delivered with personal fervour. Completing the baker's dozen set in the penultimate slot is the ultra modern sounding 'One of These Days' inviting active audience interaction via its enticing manner.
All the associated names jumping out to form the early perception of THAT GIRL eventually subside. There is only one name that matters. Hannah Ellis has announced an arrival in glowing colours and laid the groundwork to a prosperous future with a emboldened debut release best defined by the appealing reception that awaits. More importantly this is a record for the present. Slow burners have a place but equally do those accelerating quickly from the blocks as a new year begins. This album wastes little time in making its mark.
