The Band Perry burst onto the country music scene with their self-titled debut, most notably fueled by the poignant ballad “If I Die Young.” The track, with its simple yet effective production and Kimberly Perry’s distinctive vocals, became an instant classic and a personal favorite for many. Following such a strong introduction, anticipation was high for their sophomore album, Pioneer. The initial buzz amplified this excitement when it was announced that they would be collaborating with legendary producer Rick Rubin. Known for his minimalist approach and iconic work with artists like Johnny Cash and the Dixie Chicks, Rubin seemed like a perfect fit to further refine The Band Perry’s sound. Adding to the intrigue, the band expressed admiration for songwriter Dan Wilson, celebrated for his contributions to Adele’s hits and the Dixie Chicks’ acclaimed album, suggesting a deeper, more lyrically rich direction for Pioneer.
The Band Perry Pioneer album cover
However, the path to Pioneer took an unexpected turn. Despite the initial plans with Rubin, Dann Huff ultimately took the production helm. Kimberly Perry hinted at label influence, suggesting a preference for Huff’s radio-friendly approach over Rubin’s more stripped-down style. This shift in producers signaled a potential move towards a more commercially driven sound, a concern that unfortunately materializes in the final product. Pioneer, while showcasing glimpses of the band’s songwriting talent, suffers from a heavy-handed production style that often overshadows the music itself.
Dann Huff’s production, while polished, leans towards excessive, bordering on suffocating the organic feel of the songs. The album is sonically dense, aiming for an arena-ready sound, which unfortunately detracts from the nuanced songwriting and Kimberly’s vocal performance. Speaking of vocals, Kimberly Perry, typically the band’s standout instrument, exhibits a noticeable change. Her delivery on Pioneer sometimes sounds breathy and strained, a departure from the clear, sweet tones of their debut. This vocal shift, possibly a result of touring demands and production choices, is reminiscent of Carrie Underwood’s vocal evolution but lacks the same natural progression. The question arises: has the pursuit of a bigger sound compromised the very elements that made The Band Perry so appealing initially?
Despite the production concerns, Pioneer isn’t without its merits. Tracks like “Don’t Let Me Be Lonely” and “I Saw The Light” manage to shine through the sonic layers. “I Saw The Light” stands out as a highlight, showcasing a compelling melody and heartfelt delivery. The title track, “Pioneer,” offers a touch of folk influence, hinting at the band’s rootsier side. “Back To Me Without You” demonstrates a welcome restraint, although it veers into power ballad territory towards its conclusion. Even with Huff’s signature production, “Forever Mine Nevermind” incorporates noticeable country instrumentation, particularly in the choral melody, making it a palatable track.
“Mother Like Mine” is another emotionally resonant moment on the album. Penned by the trio, the lyrics explore a utopian vision of a world shaped by maternal values, suggesting a world of peace and unity. While the “no wars” line might be perceived as simplistic, the sentiment is sincere, and the song’s tenderness makes it a potential single. “End of Time,” a southern gothic-inspired piece, ventures closer to the sound of their debut, offering a darker, more atmospheric texture. Conversely, “Night Gone Wasted,” while buried under production, reveals honky-tonk undertones, especially in the chorus, suggesting a song that could benefit immensely from a stripped-down, acoustic arrangement.
However, the album also contains tracks that fall short. “Chainsaw,” intended as a country anthem, sounds dated and generic, reminiscent of Rascal Flatts’ earlier work under Huff’s production. The song lacks originality in both melody and production, failing to capture attention. Even the bonus tracks, exclusive to Target, suffer from similar production issues, obscuring any potential songwriting quality they might possess.
Ultimately, Pioneer is a mixed bag. While not a complete misstep, it represents a significant departure from the organic charm of The Band Perry’s debut. The album aims for commercial success, likely achieving its goal of elevating the band to larger venues. However, this ascent comes at the cost of alienating fans who appreciated the simplicity and sincerity of their earlier work. Pioneer reveals glimpses of strong songwriting, but these moments are often masked by an overzealous production that prioritizes sonic bombast over musical nuance. Hopefully, The Band Perry’s future endeavors will find a more balanced approach, harmonizing their artistic vision with commercial aspirations.
Grade: C+
