In the following track, “Warpath,” Michaelson changes gears, attempting to introduce a harder edge into the lyrics and melody. As per past records, she’s still in the habit of outdoing her male vocal partners, Storyman’s voice comes off rather nasally when contrasted with Michaelson’s light, airy tone. However, Michaelson’s vocals ring out consistently above the instrumentals, reminding us, not to worry, it’s still Ingrid.
Storyman).” The latter track, with its rapid drumbeat and cheerful banjo-strumming, seems almost reminiscent of Taylor Swift at points. The pop influence can be seen perhaps most clearly in “Afterlife” and “You Got Me (feat. It’s this sly vocal tone that won our hearts in the first place, and it’s the reason this record works as well. Ultimately, the reason she succeeds seems to reside in the charming edges of her voice, which no amount of studio polish or pop excitement can fully hide. True, her vocals seem more refined than in past records, and the melodies are driven by bursts of electric guitar and synth, rather than her classic (though rather cutesy) ukulele and piano. Unlike so many artists, for whom stylistic transitions are the kiss of death, Michaelson-without a doubt-owns her newfound pop genre all the way. This has certainly proven to be the case in her latest release, Lights Out, in which the singer trades out her trademark indie style for a more polished, mainstream sound. In some ways, Ingrid Michaelson is like Nutella: sweet, addicting, and great in endless creative combinations.
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