The last Pistol Annie to release a solo single.

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Katherine St Asaph: The least distinctive Pistol Annie turns out to be the most distinctive outside the group — imagine that. Lounge-country, perhaps — I reach for odd comparisons, like Nina Persson circa Long Gone Before Daylight. It’s better than that sounds, with a sly touch to the lyrics: “proud as a loser in a locker room”?
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Megan Harrington: Like bandmate Miranda Lambert’s “Girls,” Angaleena Presley’s “Ain’t No Man” presents a complicated picture of femininity, underlining the idea that no man will ever be what completes a woman. She’s crisp and cool, like linen blowing from a clothesline, and she sells the song as a withering understatement. 
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Anthony Easton: This is an album and not a collection of singles, and it is an album that is mostly about the problems of class.in the new South — especially the anxiety of a disappearing middle class. Her voice here is gorgeous and there are some startling images, but the list song moves without a rigorous framework. The voice is stronger than the writing, which is strange for an artist whose voice is uniquely suited to her material. 
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Alfred Soto: Like Brad Paisley’s “Perfect Storm,” it’s a list, but Presley at least doesn’t rely on binaries. Alas, she does rely on electric piano and dobro that would make Jay Farrar bleed a cow. I can count four other songs from American Middle Class that the label could have released.
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Brad Shoup: She sings a song of similes, but it’s fun enough to figure out which ones are undercutting things. The band pumps and plucks away like some dreadful Southern-Gothic Jon Brion assemblage; when they level out for the bridge, Presley allows herself a real flight.
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Thomas Inskeep: This is what “plainspoken” means to me. The Pistol Annies’ secret weapon nails a simple song about an awesome woman. The production is warm, the singing is lovingly recorded, and the song is everything. 
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Danilo Bortoli: “Ain’t No Man” starts off temperate and self-restrained, and it doesn’t go much further than that after its first seconds. But moderation and self-assurance are not a problem for Angaleena, as long as the tension relies mostly in the song’s lyrical themes, which is where the song’s power is: its modest structure and feeling grapples with Angaleena fight for independence, finally getting her point across.
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W.B. Swygart: It is basically a list of things, but the things are pretty well worded, Presley’s subtly tough voice has a lovely curl on it, and the whole affair’s just got this really charming kind of strut to it. A trifle, but it’s got plenty of flavour.
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