“I feel like I’ve emerged from these last few years with a pretty profound perspective shift,” says Ashley Monroe.
And when you consider that she’s battled cancer and experienced motherhood since her last album, that’s not surprising.
She adds: “I’ve learned to be more in the moment, to appreciate what’s right in front of me and enjoy every second I get to spend doing what I love with the people I care about.”
That sentiment seems to colour these songs (most of which she wrote herself) so deeply.
There’s an array of guests here, too. I’m Gonna Run is an eerie opener with edgy, breathless vocals to match. The presence of T Bone Burnett only adds to the class.
Risen Road is calming, gospel-tinged, and faith is clearly important to Monroe — her soul-filled vocals are perfect. They’re very much in evidence on Closer as well. The skill she brings is matched by the calibre of the guests: Marty Stuart appears on the gorgeous acoustic The Touch.
At 17 tracks, this is a longer album than most, and Tennessee Lightning feels like a journey through every style Monroe loves. Magnolia dives into the blues, complete with a superb screeching solo, while the storytelling of My Favorite Movie seems to sum up the overall vibe.
Hot Rod Pipe Dream is built on fabulous harmonies and has the feel of a summer anthem. Its “third act,” if you will, underlines the quirky, unpredictable nature of the record.
Amen Love finds her “searching for a sin that’s original” and explodes with lust. Moth leans more into pop, but never feels clichéd — a credit to Tennessee Lightning for avoiding the formulaic trappings of this kind of album.
Brittney Spencer shows up for the party on Bitter Swisher Sweet, which gets down and funky.
Her versatile voice shines again on You and Me, while Karen Fairchild is in stunning form on Recover. The piano-led There You Are carries a fragile air, but Monroe doesn’t come across as a particularly fragile artist — more that she’s allowing every emotion to play out in full here.
MV favourite Brendan Benson appears on the magnificent Blown Away, and the strings add real depth.
It’s striking — perhaps even remarkable — that there are no dips in quality. Most records of this length would stumble, but there’s a sense of palpable regret running through Leonard Cohen’s That’s No Way to Say Goodbye. And when you’re lying awake at 2am, the bass-heavy Moon Child is the kind of thing that loops in your head — only here, it carries the connection many artists desperately seek.
Perhaps Jesus Hold My Hand is how she found that connection. Even as a non-believer, it’s easy to appreciate the sheer sense of conviction.
And conviction is a good word for this record. Everything on Tennessee Lightning sounds like it means something — and when you think about what Ashley Monroe has overcome to make it, perhaps that’s no surprise.
A record of hope. Of celebration. Of winning. It doubtless means the world.
Rating: 8/10
