Album Review: The Pretty Reckless - 'Dear God'
There comes a point in the career of every great rock band when confidence replaces ambition. Not because the desire to push forward disappears, but because the need to prove oneself finally fades away. On Dear God, their fifth studio album, The Pretty Reckless sound like a band that has arrived at exactly that moment. Released through Fearless Records and produced by Jonathan Wyman alongside vocalist Taylor Momsen and guitarist Ben Phillips, the record feels less like a reinvention than a declaration of identity. It is the sound of a group fully comfortable in its own skin, embracing its strengths while digging deeper into the emotional core that has always defined its music.
Since emerging in the late 2000s, The Pretty Reckless have occupied a unique position in modern rock. They have balanced arena-sized riffs with introspective songwriting, creating music that feels both grand and deeply personal. Dear God continues that tradition, but with a greater sense of cohesion than any album in the band’s catalogue to date.
Much of that success stems from the songwriting partnership between Momsen and Phillips. Unlike the occasional stylistic detours that characterised 2021’s Death by Rock and Roll, this album maintains a remarkably unified vision across its fourteen tracks. Even when the band ventures into folk, funk, psychedelic rock, or classic seventies-inspired songwriting, every song feels connected to a larger narrative. The recurring “Life Evermore” interludes, scattered throughout the album and presented out of chronological order, serve as thematic signposts that tie together reflections on regret, self-discovery, mortality, and hope.
At the centre of everything stands Taylor Momsen, delivering one of the strongest vocal performances of her career. She has always possessed a rare ability to combine power and vulnerability, and Dear God provides numerous opportunities for both qualities to shine. The album’s lead single, “For I Am Death”, is a perfect example. Dark, theatrical, and almost possessed in its intensity, the track allows Momsen to unleash a performance that is equal parts menace and catharsis. Her voice shifts effortlessly between restrained verses and explosive choruses, creating one of the album’s most memorable moments.
Elsewhere, she demonstrates impressive versatility. “Spell On You” finds her embracing a seductive, mystical persona over a swaggering rock arrangement, while “About You” channels anger and frustration through a rough-edged vocal delivery that perfectly suits the song’s emotional weight. By contrast, “Rollercoaster of Life” introduces an unexpected dose of breezy funk and classic-rock charm. Its relaxed groove recalls the melodic experimentation of the Red Hot Chili Peppers while maintaining the band’s unmistakable identity.
Yet the album’s most compelling moments often emerge from its vulnerability. “Love Me” explores loneliness and depression with startling honesty, transforming what could have been a familiar theme into something deeply personal and affecting. The lyrics reveal an aching desire for connection, while Momsen’s performance conveys both desperation and resilience. Similarly, “When I Wake Up” disguises emotional regret beneath its festival-ready energy, offering a thoughtful reflection on excess and self-destruction beneath its infectious exterior.
The title track stands among the album’s finest achievements. Opening with a beat-driven arrangement that places Momsen’s voice firmly at the forefront, “Dear God” gradually builds toward a soaring chorus that feels both intimate and monumental. It captures the spiritual uncertainty that runs throughout the record, asking difficult questions without pretending to offer easy answers.
Instrumentally, the band remains in excellent form. Ben Phillips continues to be one of modern rock’s most underrated guitarists, and his work throughout the album is exceptional. Whether delivering blues-infused riffs, garage-rock aggression, psychedelic textures, or soaring melodic leads, his playing provides much of the album’s character. The rhythm section of bassist Mark Damon and drummer Jamie Perkins deserves equal praise, grounding the material with confidence and precision while allowing the songs room to breathe.
One of the album’s most fascinating tracks is “Dragonfire”, which begins as an acoustic folk composition before gradually expanding into something more expansive and psychedelic. It demonstrates the band’s willingness to experiment without sacrificing accessibility. The transition feels natural rather than forced, highlighting the maturity of the songwriting.
The album’s final stretch shifts toward broader themes, examining modern anxieties and the search for meaning in an increasingly fractured world. “Eye of the Storm” tackles social disillusionment through a mixture of acoustic and electric textures, while “Devil in Disguise (Michelle’s Song)” adopts a more personal perspective. The latter proves especially moving, with its understated arrangement allowing the emotional sincerity of the lyrics to take centre stage.
Perhaps the album’s most surprising moment arrives with “Dark Days.” Built around a slower groove that evokes the warm storytelling traditions of seventies album-oriented rock, the track recalls the reflective spirit of Fleetwood Mac more than the hard-rock bombast often associated with The Pretty Reckless. It serves as a fitting penultimate chapter, offering contemplation rather than catharsis before the album’s final “Life Evermore” coda brings the journey full circle.
What ultimately makes Dear God so effective is its sincerity. The album occasionally leans on familiar rock imagery and well-worn lyrical themes, but those moments are consistently redeemed by the conviction behind the performances. Nothing here feels cynical or manufactured. Instead, the record radiates authenticity, presenting a band willing to expose its fears, flaws, and aspirations without reservation.
At just over fifty minutes, Dear God is an immersive and rewarding listen that showcases The Pretty Reckless at their most focused and emotionally resonant. It balances heaviness with introspection, spectacle with intimacy, and darkness with hope. More importantly, it confirms that Taylor Momsen and her band remain one of modern rock’s most compelling acts. Rather than chasing trends or reinventing themselves, they have refined what they do best, and the result is a powerful, cohesive, and deeply human rock album that stands among their strongest work to date.
Words by Danielle Holian
