TheBlade
The title The Blade suggests a certain flintiness from Ashley Monroe and while there’s little question she’s tough, she wraps that steeliness underneath a smooth surface – a feint that means her songs sigh as often as they slight, sometimes revealing their intent only after they’ve wormed their way into your subconscious. This is truer of The Blade than it is of 2013’s Like A Rose, partially due to how it’s a grander, lusher revision of her major-label solo debut, constructed out of similar elements – and with the same sympathetic producers, Vince Gill and Justin Niebank – but covering greater ground. Some of this is a mere matter of length: at 13 tracks and 46 minutes, it’s a quarter longer than the breezy Like A Rose. The extra space gives her room to roam, to ease herself into territory residing on the fringes of her neo-classicism. This is a diverse set of songs but the key to Ashley Monroe’s appeal is that she seems neither showy nor calculating when she expands beyond her classic country roots. She rolls easy, luxuriating in that exquisite sound, her soft touch making the heartbreak and the humour seem equally alluring.