After winning the Pulitzer Prize in Music for Omar, her opera based on Omar ibn Said's 1831 autobiography A Muslim American Slave: The Life of Omar ibn Said, who could blame for wanting to loosen up a bit with , an album she recorded after the production's 2022 debut? After focusing on such a serious project, it makes sense that would want to shift gears with , an album that bears many musical connections to the former leader's body of work yet feels entirely different. Working with -- a producer whose resume includes recordings by , , and -- creates what is effectively her crossover album, touching upon pop and soul without ever losing sight of either her roots or her impeccable taste. Occasionally, focuses her attention on a specific sound, such as the folky "Way Over Yonder," but such streamlined excursions go against her very aesthetic: she thrives where cultures intersect, maybe even clash. is filled with such moments. "Too Little, Too Late, Too Bad" is a country-funk number, she steers the folk of the title track toward pop territory, the righteous anger of "Another Wasted Life" is wrapped in a lush, cinematic arrangement, the rural imagery of "Hen in the Foxhouse" is given a decidedly urbane treatment. It's remarkable how these fusions feel bright and lively and every bit as sharp as the Americana-leaning . may be emphasizing a different side of her personality -- and perhaps courting a different audience -- but she's made no compromises. ~ Stephen Thomas Erlewine