That’s not to say those dark moments don’t fluctuate, but most of Every Single Star finds Freeman moving past her aforementioned troubles to focus on the joys (and struggles) of motherhood, featuring the kind of joy we’ve never heard from her before on “Like I Do,” but also balancing out with tougher moments of sadness and longing to be with her daughter on “That’s How I Feel” and “I’ll Be Coming Home.”Īnd when Freeman, vocally, is a primary asset as to why her material resonates as much as it does, it helps that the vocal production once again is presented in a way that’s intimate enough to give her the spotlight, yet spacious enough to highlight the emotions that underscore the actual content, even going for more of a live vocal on tracks like “Walls Of Me and You.” Whereas past projects found her adopting a world-weariness with enough rough character to highlight a maturity and wisdom beyond her years, the focus is still there it’s just shifted toward something brighter. If anything, too, this is certainly a different project for Freeman. Yet I will say it’s a shade weaker than her past two projects, not featuring the same consistent focus or daring highlights, even if it’s still a great project in its own right. Yet, for those who are aware of what Freeman is capable of, Every Single Star is, simply put, another great project from her, featuring the same kind of organic, textured country music with a sharp edge to the writing and a wonderful interpreter in Freeman herself. Reportedly centered around her daughter, Osa, and said to be more electric guitar-driven than past records, I had some concerns that brightening up the edges might shift the focus away from either Freeman or the songs themselves. Now, I did have some reservations going into her newest album, Every Single Star. Of course, I do understand, to some extent, why she gets overlooked, even in independent country circles she’s never relied on an image or marketing to deliver her material, and when it does come down to said material, it’s the kind of great music that’s more subtle than outright jumps out at the listener.īut when listening to either her self-titled debut record or 2017’s Letters Never Read, it becomes abundantly clear why Freeman receives some of the highest amount of critical acclaim, even if she doesn’t linger on in the conversation afterward. The long version: I think we take Dori Freeman for granted.
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