Lauren Morrow sings like a free spirit on an album hot footing it on numerous grounds with the intent to reflect influence and desire rather than court scenes. The 'lead not follow' mantra is adopted on PEOPLE TALK with the cumulative effect that it doesn't take too much digging to take something positive. Although tentative steps to detach from her Whiskey Gentry past have been taken since pre-pandemic days, this new full length release is a major leap. Morrow alongside her husband and musical partner Jason curate an accomplished band of songs, largely applied with a sophisticated polish that by design only touches the edges of conforming genre traits. However the traits Lauren Morrow purveys are multi-dimensional in a wider music sense from refined vocals, accomplished musicianship and songs that make an indent.
A neatly rounded ten songs form the body of this album, duly weighing in at the optimum forty minutes. The archetype album configuration for some. Early arrivals on the Sunday morning at last year's Long Road festival got a taste of Lauren Morrow, hinting that this album could be the impetus for more trips. She did have an extended stay in Newcastle-Upon-Tyne in the distant past either side of the Atlanta-Nashville years. Therein lies some British influence both detected and informed.
Outside the wider influence, there is a likelihood for many ears drawn to this record to hone in on the fun-driven country pop ditty sitting pretty in the core of the album's second half. 'Hustle' nowhere near defines the record, but is a slice of earworm that refuses to depart at the end. Pairing this track with the more traditional leaning 'Family Tree' is a smart piece of planning. You are particularly drawn into the lyrics of this waltz-like tale delving deep into Scandinavian emigration. 'Leona' carries on this diverse run of tracks as we approach the finishing line and mixes tempos, eras and styles in a song echoing personal feeling. 'Birthday' brings the curtain down with Morrow's vocals shining from a minimalist accompaniment. A tender end to a record carrying more oomph in its early stages.
The introduction to PEOPLE TALK appears very heartfelt in the opening verse of 'I'm Sorry' then launches into a lavish chorus befit of a grand stage and lofty platform. A big sound to let everybody know Lauren Morrow is here to mean business. 'Only Nice When I'm High' leaves little to the imagination with popular music sensibilities adorning a neatly presented album component aiming at a wide audience. The album track is packed to the hilt with 80s/90s pop star dust and is as daytime radio friendly as you get. 'People Talk' will get people talking. Things get a little more placid in 'It's You' where the vocals glisten to give the song a lift. An interesting first half to the album concludes in the message-fuelled mid tempo piece 'Looking for Trouble'. Safe territory is the base for 'Nobody But Me' to rise in crescendo and leave a greater mark once the chorus is reached. Eventually guitars are let loose and the vocals hit new heights.
There are certainly many interesting parts to PEOPLE TALK, but then Lauren Morrow is bursting with ideas and wants to explore a wider landscape. This is certainly achieved. From whichever perspective is your starting point it has something to offer. Perhaps the best stance is to start with a blank canvas and let the multiple talents of Lauren Morrow and her team craft their undoubtedly ambitious and highly credible art.
