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An artist I have been unaware of until this point, it was recommended as something worth checking out as they appear to be an exciting new act moving up the industry ranks. Molly Grace is a Nashville-bred singer and songwriter who has a clear affinity for the sort of slick, groovy pop and soul music that has been making a comeback in recent years, particularly as musical nostalgia is at an all-time high. The blend of disco, new wave and blue-eyed soul is of its time, particularly as artists like Chappell Roan and Sabrina Carpenter are having their respective moments in the sun. The next test for Molly is approaching these styles, not so much in a replicative way, but with an original intent.
Don’t get me wrong, you can wear your influences on your sleeve. There is a clear distinction though, between borrowing and repurposing. The songs themselves also have to hold up as individual pieces. Either through writing that is consistently besting itself, or with production that sticks the landing. Or, both! In the case of Molly Grace’s most recent effort, those two pieces of criteria are met only occasionally. Though often, where the songwriting generally is really solid, the production leaves a bit to be desired. Likewise, instrumentally a song can be going off, but some lackluster writing can cancel the positives out.
Which can be frustrating when you’re hearing a song’s potential. The disconnect kneecaps the dynamics of the song, which disrupts the flow of the record. Some of the best music in the styles this album dabbles in are simultaneously smooth, yet carried by some bolder choices that accentuate those clean edges. Whether it’s a stand-out baseline, some jerky, ear-grabbing rhythm guitar or keyboard licks, tight drumwork, a winning chorus melody. Take the opener “Lemme”, while it certainly features a couple of these aforementioned elements, it falls rather flat when it transitions into its gospel-tinged chorus section. “Call It Quits” has punch, but once again, it cannot go the extra mile when it comes time to land a blow on the chorus. There is simply too much going on for it to be a moment of punctuation. “Do Me” might have benefited from a dirtier presentation. Maybe it’s trying to communicate a sense of bliss, but even then, it ironically lacks the *soul* to get that across effectively. The vocal acrobatics on “Soprano” are an impressive technical feat, but they serve the song not one bit. A more tasteful application would have sufficed.
These issues pop up regularly across the album’s runtime, and I think Molly Grace would do well for herself to tighten a few of these loose screws. She is clearly a capable artist, she pulls from a sweet wealth of exciting, somewhat retro sounds. She is an excellent vocalist in her best moments, but she undercuts herself and these songs far too often for me to offer more leniency. She doesn’t dare herself to push past that initial step of glitzy presentation and surface level pop-girl chic, to craft songs that genuinely stick and have staying power. ‘Blush’ has the bones of a really fun, catchy pop album, but it unfortunately falters amongst the finer details.
Dan Will Review 