Artist: Sugarland

Album: The Incredible Machine  

Label: Mercury Nashville

Despite opening at No. 1 on Billboard's Top 200 Albums chart and selling 203,000 copies in its first week of release, Sugarland's fourth studio project, The Incredible Machine, has irked some fans who say the Country Music Association's reigning Vocal Duo of the Year doesn't sound country enough this time around.

That's true, yet by design, according to singer Jennifer Nettles and guitar man Kristian Bush. And while there's certainly nothing wrong with admitting creative restlessness and experiencing artistic growth, these two fine musicians do seem to have let their latent New Wave, Big ‘80s, and pop crossover influences run a little bit too wild all at once here. Across these ten new tracks, half are top notch and worth hearing, but even less than half could be called country music—a jarring changeup indeed for some longtime Sugarland listeners.

The Incredible Machine starts with "All We Are," a vague anthem about "where love is found and nations fall" that sounds like a Bon Jovi hit past its expiration date. The following title cut, describing the heart as "an incredible machine made of blood, love, hope, lust, and steam," is a more interesting arena-aimed composition but still struggles to make a clear lyrical connection. Thankfully, the heart of the record does have its incredible moments. "Stuck Like Glue" is a good acoustic love song made great by Jennifer's bubbly vocals and playful reggae-tinged rap breakdown—now that's a cool way to begin pushing musical boundaries. Nettles impresses again on "Tonight," holding long notes like Carrie Underwood over a simmering rock piece comparable to Melissa Etheridge's best known work. Kristian sings along to winning effect on the Americana flavored "Stand Up" and surely Southern mid-tempo ballad "Little Miss."

Remarkably well-written and executed, "Every Girl Like Me" is an adult contemporary smash waiting to happen and a perfect example of why Sugarland must evolve; there's more to this act. At the same time, "Find the Beat Again," where Jennifer obviously mimics Blondie's Debbie Harry—on a country album?—is a good case for a slower transition if not a firm step back.
Whatever the case, there's too much talent and character here to imagine Nettles and Bush won't find the beat again themselves and keep on topping the charts.