When ‘Dreamsicle’ was released earlier this year, I decided against reviewing for a couple of different reasons. Firstly my favourite songs on the album had already been released on the ‘Intermission EP’ which I had reviewed in 2024. Secondly I wasn’t initially sold on some of the other songs on the album after that first listen.
However before I went to see Maren in November I started listening to the album properly and found myself falling in love with it, especially the last few songs. Another stand out for me was the title track ‘Dreamsicle’ a sweet ballad about appreciating what you have in life and not dreaming away the present. Even better was the fact that this was a solo write from Maren. Take away all the big producers, the songwriters and what was left was a huge talent with a vulnerable and endearing heart.
What was evident from the Intermission EP and the intention behind Dreamsicle was that Maren was done with being ‘humble’ or indeed caring much about what the country music industry thought of her.
Still her move to pop hasn’t been easy. Dreamsicle has been her lowest charting album. Despite working with some of the big name pop producers and songwriters she hasn’t really crossed over to the young pop market. The videos for the album seem to be very low budget and compared to her old videos like ‘Circles Around this Town’ the new ones are poorly lit and lacking in any kind of artistic vision.
The songs on Dreamsicle that are pure pop like ‘lemonade’, ‘cry in the car’ and ‘bed no breakfast’ are fun but there’s nothing particularly original about them in terms of lyrics or style. Still she performed them live with the kind of personality that shows she has the stage presence of a big pop star, much more so than say Kacey who still looks more comfortable behind a guitar.
Aside from the power pop banger ‘cut!’ the strongest songs on Dreamsicle have a more soulful, rootsy sound and let her vocals shine through the production. On ‘too good’ she shows she can be sassy and self-aware at the same time – it’s got a brilliantly sing along hook too. The gorgeous ‘grand bouquet’ is a folksy sounding love song with an original slant on the oft-used flower metaphor.
What was interesting to me at Maren concert was how much of her crowd were still clearly country fans and preferred that older material. Maren played at Newport Folk festival this past summer and has obviously been a part of the Highwomen. She could easily appeal more to the Americana crowd if she wanted to keep singing country-influenced songs without going back to the mainstream. A song like ‘carry me through’ has an epic Brandi Carlile style to the vocal and arrangement which feels like a good home for her stylistically.
When she sings about things going up in ‘holy smoke’ she’s not just talking about her marriage, she’s clearly referencing her country music career. Who would want to be associated with the genre right now anyway considering the obvious political divide? The way she sings this song makes you feel like she’s glad to be free of her past.
Dreamsicle in some ways sounds like a woman still experimenting musically and personally. It’s an enjoyable album, authentic and honest in its messiness, even if not everything works. Who wants perfection anyway? Let’s just savor what we can, while we have it.
Highway Queens 
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