Review of The Pretty Reckless’ “Dear God” Album

It’s clear that The Pretty Reckless had high expectations for their fifth studio album, ‘Dear God’, which was heavily promoted alongside a massive global arena tour. As the album has now been released, it’s evident that the band’s confidence was well-placed. ‘Dear God’ is a bold collection of stadium rock anthems that effortlessly blend elements of sexiness and sentimentality.

Following a brief holiday EP in the form of ‘Taylor Momsen’s Pretty Reckless Christmas’ last year, fans hadn’t heard much from the band since 2021’s polarizing ‘Death by Rock and Roll’ and the subsequent 2022 acoustic compilation album, ‘Other Worlds’. However, the band clearly hasn’t lost any of its former vigor and energy. On ‘Dear God’, lead vocalist Momsen, along with guitarist Ben Phillips, drummer Jamie Perkins, and bassist Matt Damon, delve into themes of love, loss, and life with raw vulnerability, opting for a confessional and diary-like approach to their songwriting.

Notably, The Pretty Reckless recently made history by becoming the first female-fronted band to achieve five number one singles on Billboard’s Mainstream Rock chart, a feat that underlines their willingness to explore new musical territory. The risk seems to have paid off, particularly in the album’s dynamic first half. Tracks like ‘When I Wake Up’ exude a rebellious attitude, with Momsen’s fiery vocals leading the charge. The song is followed by a cool, nonchalant swagger reminiscent of artists like Wet Leg, coupled with the intense guitar riffs that harken back to the glory days of Foo Fighters. The emotional resonance of the poignant rock ballad ‘Love Me’ further showcases the band’s prowess at creating impactful music.

However, while ‘Dear God’ shines in its more exuberant moments, the album falters slightly in its latter half. Tracks like ‘About You’ and ‘Spell On You’ delve into the band’s signature dark and brooding sound effectively, but ‘Rollercoaster of Life’ feels formulaic and lacks the depth of its predecessors. Similarly, ‘Eye Of The Storm’ struggles to connect with its straightforward lyrical approach, although Momsen’s vocal delivery remains powerful and emotive throughout.

Momsen’s personal experiences with loss, including the passing of Soundgarden frontman Chris Cornell and her close friend and record producer Kato Khandwala, provide a poignant backdrop for ‘Dear God’. The track ‘Devil In Disguise (Michelle’s Song)’ is a touching tribute that showcases a softer, more introspective side of the band, highlighting the beauty that can emerge from immense pain.

Despite its expansive runtime, ‘Dear God’ feels somewhat front-loaded, with the latter half of the album lacking the same punch and cohesion. While The Pretty Reckless succeed in crafting a thematically consistent and immersive listening experience, the album’s length may hinder its overall impact. Nonetheless, ‘Dear God’ stands as a testament to the band’s songwriting prowess and willingness to explore new emotional depths.

In conclusion, ‘Dear God’ finds The Pretty Reckless delivering a compelling mix of sensual and emotional rock anthems. While the album may not hold up consistently throughout its runtime, it showcases the band’s evolution and willingness to embrace vulnerability in their music. With powerful vocals and poignant lyricism, The Pretty Reckless continue to solidify their place in the rock music landscape.