The Band Perry burst onto the country music scene with their self-titled debut, instantly captivating audiences with Kimberly Perry’s distinctive vocals and their heartfelt single, “If I Die Young.” This breakout hit, celebrated for its raw emotion and Nathan Chapman’s understated production, became a decade-defining track for many, myself included. The anticipation for their sophomore album was naturally high, especially when whispers circulated about a collaboration with the legendary Rick Rubin.
The Band Perry Pioneer album cover featuring the sibling trio. The album is a point of discussion in this review.
Imagine the excitement: The producer who revitalized Johnny Cash’s career and shaped the Dixie Chicks’ masterpiece, Taking The Long Way, aligning with The Band Perry. Further fueling expectations were reports of songwriting sessions with Dan Wilson, the creative force behind Adele’s emotionally resonant hits like “Someone Like You.” The Perry siblings themselves openly admired these songs, mirroring my own enthusiasm. The stage seemed set for an album of profound artistry and depth.
However, the trajectory shifted. The promised collaboration with Rick Rubin never fully materialized. Kimberly Perry hinted at label intervention, suggesting that Rubin’s minimalist approach, in his “current incarnation,” didn’t align with Republic Nashville’s vision for The Band Perry’s sound. Instead, Dann Huff, a producer known for his polished, radio-ready sound, was brought in. The unspoken message was clear: in today’s Nashville, commercial viability often trumps artistic exploration, and an album tailored for country radio airplay was prioritized over a potentially more nuanced and articulate record.
The result is Pioneer, an album that unfortunately leans heavily into overproduction. Dann Huff’s signature style, while commercially successful for many artists, here feels like a smothering blanket, almost diminishing the songs’ inherent qualities. This sonic approach even seems to have impacted Kimberly Perry’s vocals, once the band’s most striking feature. Her performance on Pioneer occasionally reveals a breathiness and strain, a departure from the effortless clarity of her earlier work. Similar to Carrie Underwood’s recent vocal shifts, it raises questions about the pressures of constant performance and the toll it takes on a singer’s instrument. One can’t help but wonder: what happened to the beauty of simply singing?
Pioneer exemplifies the pitfalls of hyper-commercialized country music. Every element sounds meticulously crafted, almost to the point of being manufactured, aiming squarely for arena-sized appeal. While these tracks might translate effectively in a live stadium setting, the album suffers as a cohesive listening experience. Fortunately, Pioneer isn’t a complete disaster. Amidst the sonic gloss, The Band Perry’s songwriting talent still shines through in moments, even if nothing quite reaches the heights of their debut singles.
Tracks like “Don’t Let Me Be Lonely” manage to be enjoyable despite the somewhat dense production, and “I Saw The Light” emerges as a standout, possibly the strongest song on the album. The title track, “Pioneer,” offers a glimpse of the folksier sound they hinted at, and “Back To Me Without You” demonstrates a welcome restraint, even if it edges towards power ballad territory towards its conclusion. I’m not inherently opposed to layered production; artists like Eric Church demonstrate how it can be used effectively to enhance a song’s impact. In fact, Huff’s production actually complements “Forever Mine Nevermind,” where the choral melodies and subtle country instrumentation find a comfortable balance.
“Mother Like Mine” is another bright spot, a tender ballad co-written by the trio. It presents a utopian vision of a world shaped by maternal values:
So the wars would all be over
‘Cause she’d raise us all as friends
And no one would ever wonder if somebody wanted them
We’d walk on grass that’s greener
And our cares would all be freer
If the world had a mother like mine
While the “no wars” sentiment might be somewhat simplistic, and Kimberly’s vocal performance shows hints of strain, the song’s heartfelt message and potential as a single are undeniable. “End of Time,” their attempt at a southern gothic narrative, feels less impactful than anticipated but perhaps comes closest to capturing the raw energy of their debut. “Night Gone Wasted,” in its current form, feels chaotic, yet hints of honky-tonk buried within the mix, particularly in the chorus, suggest a potentially compelling song buried beneath layers of production. This track, above all others, cries out for a stripped-down, acoustic rendition.
The remainder of the album, however, descends into less compelling territory. “Chainsaw,” while intended as a high-energy country anthem, sounds generic, reminiscent of production choices made for Rascal Flatts a decade prior. The production lacks originality, failing to pique interest despite the typical Band Perry lyrical themes. Even the bonus tracks exclusive to Target suffer from similar issues, with production and vocal choices overshadowing any potential song quality.
To say Pioneer is a disappointment would be an understatement. It avoids being a purely cliché-ridden commercial endeavor, but it feels like a missed opportunity. The songs are present, but their potential is consistently undermined by distracting production choices. Pioneer will likely propel The Band Perry to greater commercial heights, securing their place in larger venues and broader recognition. However, this success comes at a cost – a sacrifice of the artistic simplicity that resonated with fans of their debut. Hopefully, The Band Perry’s next musical chapter will find a more harmonious balance between commercial appeal and artistic integrity.
Grade: C+
