Monday, July 29th, 2019

Miranda Lambert – It All Comes Out in the Wash

Laundry day at the Jukebox…


[Video]
[6.00]

Thomas Inskeep: I wish it weren’t quite so filled with laundry puns, but I’m glad Lambert returned with something uptempo, which I hope country radio takes to heart and plays the hell out of. Jay Joyce is an interesting choice as a producer, too; this somehow sounds delightfully snarky, and I’m not sure how they accomplished that. And second-tier Lambert, which this is, is still better than most of the rest of mainstream country at the moment.
[7]

Edward Okulicz: Between this and “Baggage Claim,” which I feel is a bit underrated, it turns out I have a bit of a soft spot for Miranda Lambert wringing a metaphor dry. At her best she is unstoppable, when the song’s okay her performance is usually great enough to make her B-cuts highly listenable and this is another highly listenable track. Do I need more pretty good Miranda Lambert songs in my life when there’s already a bunch of 10s? Sure.
[7]

Josh Buck: Miranda Lambert is easily in my top five singer-songwriters of the generation, and anything she releases at this point is just gravy on top of the 21st century’s greatest country music run.  That said, this is some quality cross stitch-core lyricism on par with the first Kacey Musgraves record. In a just world, “put that sucker on spin” becomes the 2019 “YOLO” that we deserve. Come for the Pinterest fuel, stay for that sticky guitar groove. 
[7]

Katherine St Asaph: The lyric, as anyone who’s made an unforgivable mistake or 100 knows, is a lie; as a wiser Southern songwriter wrote, “Listerine covers your tracks — doesn’t do shit for the facts.” But it’s a lie delivered with gusto, in track and vocal — though Lambert can’t quite decide whether she wants to sing this forced-chirpy or with a Donita Sparks sneer.
[5]

Tobi Tella: Slight but fun, and unapologetically country. Miranda has the ability to write something more powerful, but damn if this isn’t a good time.
[6]

Nortey Dowuona: Miranda’s relaxed and calm, just gently cycling on the sliding guitar parts and firm, pulpy bass as the drums lay out the road in front of her.
[8]

Michael Hong: “It All Comes Out in the Wash” sees Miranda Lambert returning to that raucous stadium country for the first time post-divorce (excluding a couple romps with the Pistol Annies). While the results are fine and likable enough, her commitment to the track’s central metaphor goes a little overboard, making the whole thing feel a little bit contrived and exhausted, and certainly like something we’ve heard before.
[5]

Lauren Gilbert: A rural noun, simple adjective
[2]

Joshua Lu: Miranda Lambert provides rapid-fire maxims on life’s hardships, and the would-be cheesy comparison of rinsing regrets away like a stain off a T-shirt is made palatable with her earnest delivery. She knows how to push these metaphors right to the border between fulfilled and overwrought, like how the lyric “That’s why the good Lord made bleach” definitely toes that line but does well to not transgress it. It would all be agreeable if it weren’t wrapped up in a disposable Thomas Rhett instrumental.
[6]

Alfred Soto: The best working singer-songwriter remains some singer: she recites a litany of nouns as if it were a prayer learned in her girlhood. Jay Joyce gives the bass and guitars some heft. I’m not crazy about the litany containing the litany: good country people as incest-happy morons or something. But her delight in them suggests she doesn’t hold herself to a higher standard.
[7]

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