Self-released 

*** 

Fourteen years on, Texas duo Smithfield (Jennifer Fielder and Trey Smith), continue to carefully walk the divide between in your-face modern pop country and full-on rock. Yet, as their latest album, tellingly titled COUNTRY WITH HEART, Part 2, makes it clear, they still feel connected to the basics of country music, whilst boasting the ability to connect with nearly any crowd, based on their sheer melodic prowess alone. On the cusp of a major breakthrough, perseverance is a priority, now more than ever. So, for whatever deeper meaning might be implied, Smithfield is more effusive than ever, especially when it comes to the upbeat arrangements and the studio band’s assertive sound. The precision of their performance reflects the fact that they’re a well-synced ensemble that can consistently deliver with decisive determination. They write smart, soaring country-pop songs. My one criticism concerns pacing and sequencing. Too many of the songs, both upbeat and tender, are full-on with little let-up, so by the fourth or fifth track you feel worn out by the almost bombastic intensity of it all. Similar tempos combined with multi-part melodies, impassioned and powerful vocal leads and harmonies, and the too busy and heavy musical arrangements, created to impress, impart musical fatigue on the listener. That’s evident not only in the clever duet Let You, but in almost every other song in the set as well. 

A powerhouse power ballad, Drunk Love You would’ve aced all its exams at the Lady A School of Country Hitmaking. With lush harmonies rising out of warm acoustic sounds, the chords are chunky, the leads are twangy as the song builds into a powerful declaration that this is a genuine love and not just the drink talking. In contrast, a couple of post break-up songs, All Over Nashville and Alone In The City, both have a similar theme of recovery whilst negotiating life in the city. In the latter, leaving the familiar hometown, and all the local whispers, for the safety net of a big city, proves more difficult than staying put. Though the lyrics paint a picture of loneliness, the pop-styled arrangement is much too upbeat. With All Over Nashville, staying put is just as tough, as in every place over town, the broken-hearted lover finds sad memories on every street corner. Again, the song relies on an upbeat arrangement with an infectious singalong chorus—great for radio play but lacking the emotional impact the lyrics demand.    

God Given is a tender declaration of unwavering love and commitment, which is delivered with an intimate vocal by Jenn. With so much vulnerability and raw connection on full display, this may be the sweetest love song you hear this year. Giving Up On Us, is not a romantic love song, but one that extols the broken beauty of truly knowing someone, accepting and loving them for all the good and all the bad. It’s perhaps the best example of the pair swimming together in a near-perfect duet performance. It contrasts neatly against Tell Me You Don’t, another love song, this one the protagonist is hoping against hope that despite a break-up, there’s still a chance that the romance isn’t really over. With their trademark powerful vocals and harmonies and the rock-edged groovy guitar licks and driving percussion, Smithfield’s dose of modern pop-country is just what’s needed for many to escape today’s woes, but for me it’s just a little too much in one sitting—and there’s only eight tracks.  

https://www.smithfieldmusic.com 

September 2026