The Singles Jukebox

All she could do was cry…

[Video][Website]
[4.43]

Alfred Soto: She has a hint of mom Lee Ann Womack’s dulcet tones but sounds much better against a churning guitar backdrop. Brief, pungent, generic — I can’t wait for her next single.
[6]

Brad Shoup: Does she sound like her mom? Oh hell yes. Were uptempo backporch burners ever really Lee Ann’s thing? I dunno, I still can’t stop talking about “The Bees.” Sellers has one maybe-classic on this record, but “Sit Here and Cry” represents a departure from her parent’s strengths: harmonica-soaked, with rock ‘n’ roll guitars prioritized over steel. It’s a different kind of throwback, one that slots between Gretchen and Miranda. Still, she sounds a little rushed; the care in her delivery can barely be heard. It’s got some feel, but not that much effect.
[6]

Micha Cavaseno: You know for all the motivation to construct this bluesy stompalong, you’d think it was for a more present sort of vocal performance. Alas, Sellers is all nasal whine, and with the casual air of someone who’s mind is far from the song they’re trying to sell, and quite frankly it shows.
[3]

Jonathan Bradley: There’s a lot of pep in Sellers’s rockabilly take on abject despair: less clear is why. “Sit Here and Cry” seems more an exercise in form than a wry mismatch of theme and sound. Either way, Sellers herself offers little. She warbles her woe with a plainness that might be called direct, but certainly never takes on character enough to be anything like plaintive. About as aimless as sitting on the front porch doing a whole lot of not much.
[4]

Iain Mew: Sellers’s confident vocal clarity and the way the song sounds like it’s rolling down a hill combine to give a feeling that her ultimate triumph is inevitable. That sits oddly with the lyrics, which neither suggest that him coming back or her not crying are particularly likely. For a simple song, it winds up unsatisfyingly confusing.
[4]

David Sheffieck: The roughness of the production — faking live and sounding good doing it — contrasts a little too sharply with Sellers’s rushed-but-polished vocal. When she loosens up for a wail in the bridge, it’s the one time she doesn’t sound like she’s about to stumble over her words, and the one time she and the track seem to be performing the same song.
[4]

Jonathan Bogart: The fuzzy blues riffs are nice, but too polite; her voice, pushed forward in the mix and entirely free from grit or strain, is clear, but without discernible personality. She would probably do quite well following in her mother’s footsteps; but she’s not going to get there as a pale photocopy of the Alabama Shakes.
[4]