Ella Langley’s Debut Album ‘Hungover’ Blends Country Sub-Genres, But Mostly Gives Fans More of What They’re Used To

Today, August 2, country up-and-comer Ella Langley released her debut album, Hungover. It’s a clever blend of country sub-genres—from pop-country and acoustic singer-songwriter, to old-school jukebox folk and country-rock—but, ultimately, it gives fans more of what they’re used to listening to.

Langley co-wrote all 14 tracks on the album, and they’re rife with the usual country metaphors, images, and motifs—smoking and drinking, falling in love in bars, regret, heartbreak, trucks and boats and acting tough. There are countless references to cowboys. However, there are also a handful songs that stand out on Hungover for their clever writing and depth.

“Monsters” is one of those songs, where Langley sings I’ve got some real monsters / Living inside my head / Memories I’d like to leave / Shove them under my bed. There’s a sense of maturity in the second half of the album that just isn’t present in the first half, starting with track nine, “The Girl Who Drank Wine.” The first narrative song, it’s also darker and moodier than the earlier eight tracks, foreshadowing a general shift in tone.

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Ella Langley’s Debut Album is a Clever Blend of Sub-Genres

The first eight songs on Hungover are the usual country music fare. The title track opens the album with lyrics that compare dating a man to drinking too much and being hungover the next morning. “I Blame the Bar,” “Nicotine,” “Love You Tonight,” and “Paint the Town Blue” do much the same, referencing the most stereotypical of country motifs.

Ella Langley mixes things up on “You Look Like You Love Me,” her duet with Riley Green, where she goes for an almost spoken-word approach. It has a classic honky-tonk jukebox feel, a bit of Patsy Cline or Kitty Wells in her vocal styling. It’s an interesting approach to the third track on the album, but it works. This author was left wanting more of that style, but wondered, if Langley delivered, could she risk being pigeonholed? Nevertheless, the blend of styles and sub-genres worked well overall for this album.

Vocally, Langley has a warm and rounded voice, but not much inflection. It’s solid and reliable. There’s a bit of Lainey Wilson in her vocals—the dependable mid-register, dipping slightly lower than most women in country. Overall, her vocals are smooth with a slight waver of twang, but it’s not overpowering.

Hungover Works Well As a Debut, But We’re Wondering What Langley Will Do Next

Hungover is a cohesive debut album, but it runs the risk of falling into overplayed country cliches. The writing is decent and clever on some songs, but many of the images are overused in country music. Ella Langley obviously has good, solid vocals, but they’re almost wasted on tired stereotypes.

Generally, country girlies will love this album, as it gives them more of what they’re looking for. If you want more of Lainey Wilson, Miranda Lambert, and Kelsea Ballerini, this is an album for you. It’s not groundbreaking, but what has been lately? It simply gives us what we’re used to. That doesn’t mean it’s bad, rather somewhat predictable, but still a good listen.

Featured Image by Caylee Robillard