Texas is famous for its size, political figures, cowboy boots and delicious beef. Over the past 20 years, it has also quite hospitably hosted South by Southwest, one of the world’s most important artistic festivals. It was at this festival singer-songwriter and native Texan Erin McCarley exploded onto the national music scene and emerged as a forceful vocalist with a nuanced command of a mainstream, appealing pop sensibility. On Jan. 6, she released her freshman album, Love, Save the Empty, that allows listeners comprehensive insight into a youthful diatribe on life.
The title track, “Love, Save the Empty,” is a curiously upbeat description of losing one’s virginity. “Face down on top of your bed/ Oh why, did I give it up to you?/ Is this how, I shoot myself up high/ Just high enough to get through?” The peppy piano part and sultry, solid vocals are appealing on first listen. McCarley’s first single, “Pony (It’s Okay),” was chosen as iTunes’ Single of the Week, instantly establishing itself as a surefire feature on mainstream radio for months to come. Similar to many radio hits featuring capable female vocalists and standard melodies ? la Vanessa Carlton, this sound is one that will not achieve lasting power in contemporary music. With lyrics like “Go on, go on, go on/ The stars are watching/ Just say just say just say/ What you’re feeling/ You know, you know, you know (oh no, oh no, oh no),” the listener is left wondering, “What in the world is she talking about?” It is these generic lyrics, however, combined with McCarley’s lovely voice, that will make her songs mainstays on televisions shows and mindless cinematic endeavors interested in sparkling melodies to merely provide sound but not distract viewers. (Coincidentally, “Love, Save the Empty” is featured in this winter’s release of the film, “He’s Just Not That Into You.”)
The hardest part about assessing an album like McCarley’s is she assuredly poured her heart and soul into this album, and the overall effect is incredibly pleasing. “Gotta Figure This Out” and “Lovesick Mistake” are both deliberate, sentimental ballads interested in self-exploration and genuine emotions. Unfortunately for McCarley, they aren’t anything listeners have not heard before.
In “Bobble Head,” McCarley explores her vocal range and produces a more powerful, graduated sound she would do well to exploit. This type of soaring vocal quality is what has truly set female artists apart in spite of underwhelming lyrics. While artists like Mariah Carey, Christina Aguilera or Jessica Simpson are sometimes mocked for their lack of substance, no one can deny their pop appeal and immensely forceful vocal abilities. It is when female singer-songwriters like McCarley avoid glitter and fun to pursue the folky, guitar-centric, more “genuine” approach that a need for something of substance beyond basic lyrics and tinkling melodies becomes obvious. Further employing her vocal range and adding some funk could really improve her sound.
Erin McCarley’s effort is a guaranteed pop culture success. Her songs are the perfect soundtrack for a brief ride to the grocery store or a movie trailer, but listeners will be challenged to find something unique.
2 stars out of 5.
