The late busbee’s imprint on current country music is posthumously bolstered by the ongoing success of Maren Morris, where he could always be counted on to at least toe the lines of what could be considered radio-fare. Sometimes, he’d hit big, and other times, those who’d check it would love what they found. Grassroots artists working with busbee tended to build small but dedicated fanbases, and looking at this production discography, that’s worst-case scenario, with Haley Reinhart, Jana Kramer, Hunter Hayes amongst them. What he lends to a song like ‘Call Me’ is that likelihood; country flavours abound in the instrumental, and lyrics about weekend playlists keep things universal, allowing Pearce to stay centre-stage.
On ‘Call Me’, unusual chord phrasings smash through expectations of what this song could have been, and instead of a melismatic vocal, it’s choppy and punchy and fun. Personality in full swing, this deservedly follows ‘Hide The Wine’ and its winning formula. Carly Pearce has her own niche to carve. It’s not boilerplate country pop, and neither does she have to scream and shout for the effects of this song to be noticeable and effective. That bouncy, chilled out chorus and groovy bassline hit the same tone as Little Big Town’s Pontoon and Lady Antebellum’s Downtown, cool moments where artists showed they can be years into a career and still find fun in the studio. Three melodies are better than two, and here’s a perfect example of how flexible and varied songwriting can pack quite the punch; the pre-chorus amps things up for the fantastic danceable chorus that’s frankly irresistible. It all makes for one of Pearce’s most seductive singles to date, and I hope this is the path she continues to follow.