Indiana-based singer/songwriter Abbie Thomas shows a melodic fusing of retro soul and pop on new album Not Gonna Lie. Her songwriting resonates with a heartfelt relatability — exploring themes ranging from family relationship dynamics, marriage struggles, parenthood, and female empowerment. Thomas emits a reassuring disposition throughout. “In time we grow wiser,” her vocals let out on “Walkin’ & Talkin'” — indicative of an album that stirs in its depictions of struggles and tumult as learning experiences, and an opportunity to showcase strength and perseverance.
Thomas says the album title is “because I wasn’t holding back and editing myself based on what my family or current fan base would think. I was taking Nina Simone’s advice: ‘It’s an artist’s job to reflect the times.'” Following a cancer scare, Thomas found extra emphasis on music’s power as a generational force for connection. “I realized that I wanted to be unedited in what I was writing about so that my daughter would really know who I was should I not be around when she’s older,” Thomas explains. As a result, Not Gonna Lie consumes with a sound steeped in authenticity and depictions of life’s peaks and valleys, in artfully melodic form.
An open-road, adventurous spirit is conveyed on the opening “Down for the Ride,” where an inviting sound is led by mellow organs, suave bass, and soulful vocal adornments. An ascending vocal momentum culminates into a string-laden addition, concluding in stellar form into the “I’m down for a ride,” ethos. The immersive sound continues on “Bitch Make the Coffee,” which explores the treatment of women working in the corporate world. Bluesy guitar tones and sweltering, scathing lyrics pair for an invigorating sound. Brass-y inclinations lead into tasteful piano and a title-touting charm, venturing further into verses — “don’t forget to smile pretty,” — exemplary of misogyny and mistreatment in the workplace.
A multitude of highlights continue throughout, ranging from the serenely reflective “Mid July” to the retro-soul heartrending qualities of “Grudges.” The latter is particularly gripping with its intertwining vocal layers and solemn strings/organs; the “screaming at you,” vocal admissions capture a relationship in tumult and an ensuing strive to move on. Album finale “Till My Last Breath” is a satiating, emotional close — fusing bouncy piano and bright guitars, amidst conveyances of family and to cherish loved ones. The closer is a warm, approachable depiction of enduring relationships, continuing the album’s successful drive in demonstrating difficulties within life, but ultimately its beauty as well. Abbie Thomas’ Not Gonna Lie is a fantastic display in memorable songwriting and production.
