The Singles Jukebox

Two years after 2014, she moves to impress us again.

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[5.50]

William John: The feather-lightness of “I’m So Getting Over You” jars somewhat in juxtaposition with “Quarterback,” the relevance and importance of which is undiminished more than two years on. Relationship ennui doesn’t have to be an uninteresting subject, but a cute country arrangement here can’t doll up such opaquely mundane songwriting.
[5]

Will Adams: I love a good AABA chorus; this isn’t it. The B-section is overstuffed, with the kind of knee-jerk kiss-off lyrics — “Going out in that dress you hated” — that suggest Kira Isabella doesn’t know the difference between getting over someone and being over getting over someone.
[4]

Anthony Easton: Isabella’s voice has a clarity, and she is pretty great with a phrase. This is an excellent example of control: she works within the context of guitars, so the whole thing sparkles. It is a joy, and a release in that joy. 
[8]

Katie Gill: This is already borderline dated, but holy mess y’all, I love it. Isabella has gone on record saying she was inspired by Shania Twain’s Up! and it SHOWS. Out of all Twain’s albums, Up! was the one that best blended the country/pop crossover, releasing songs that expertly straddled the genre line–just like “Getting Over You” does. Isabella’s using every girlpop trick in the book making what could ostensibly be a pop song, pitched to Little Mix or Carly Rae Jepsen, but decidedly country through instrumentation and affectation. And man, the way her accent slams into you when she says “Guess what?” gives me life. I hope we see more of her on the Jukebox.
[9]

Alfred Soto: 2014’s “Quarterback” was a triumphant meeting between exemplary material and adequate singer; her adequacy teased out the pathos. Now I’m hearing adequate material meeting adequate singer.
[4]

Adaora Ede: I could be analytical and say that the telephone voice effect at the beginning of this track is meta and that Kira Isabella’s hackneyed “I’m soooo done” lyrical trope + adult contemporary instrumentation + that banjo + everything else was purposely phoned all the way to create a hyper-teen-country pop song to poke fun at the genre as a whole. Yet I could also say that I doubt any country fan here is going to listen to this when we’ve already gone through our period of collective infatuation with a teenage country singer and her quotidian romantic romps.
[3]