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Not that shes totally ditched her Doc Martens for cowboy boots.Somebody Elses, the jumpy cut that kicks off the album, is powered by resentment and regret, Stefani letting an ex know shes thrilled hes moved on a repudiation of her tumultuous past that sets up the rosier scenarios that follow.
That opener is one high point of an album that attempts to split the difference between Stefanis pit-ready past and country-wife present.
Pretty, a slide-guitar-accented ballad where Stefani gathers up her regrets before revealing that she never felt pretty til you loved me, is another peak, Stefanis voice nearly buckling as she relives the shock of once again being adored by another.
Ellenvon Unwerth*
Bouquetis stuffed with flower imagery: the anniversary-party-appropriate title track is littered with sunflowers and roses; the road-trip-playlist-made Marigolds turns its titular flowers into a marital bed; Empty Vase finds Stefani bending her voice flirtatiously in gratitude, a nice counterpoint to the slide guitar that signifies her darker past; and Purple Irises, a sparkling duet with Shelton, uses its blooms to signify mutual contentment.
(Theres even a cut called Late to Bloom, a glossy country-pop-punk tune that revels in finding later-life love.)
Stefanis glide toward her garden of contentment is enjoyable enough, if a bit bland when inhaled all at once.
