Although inspired by the beachside folk-pop of
Jack Johnson,
Tristan Prettyman pitches her tent further inland, where the sunny sounds of her influences can be personalized with shades of jazz and pedal steel twang.
Twentythree saw the songwriter first attempting to coalesce those genres into something cohesive, and Hello...x joins the effort three years later, featuring a grown-up
Prettyman whose vocals and songwriting have grown decidedly more polished. Inspired by a split with former boyfriend
Jason Mraz,
Prettyman fills
Hello with breakup ballads and sexy, sauntering pop tunes, almost as if she's dismayed to be single but simultaneously excited to rediscover her freedom. A number of singer/songwriters have turned similar sentiments into chart-topping gold since
Prettyman's emergence, and
Hello occasionally aims for the same audience that gobbled up
Colbie Caillat's
Coco and
Sara Bareilles'
Little Voice. But the majority of her moves aren't so streamlined, and the bare-boned arrangements put an emphasis on the songs' hooks without coating them in layers of glossy, unnecessary sound. Even the album's most overtly poppy track, the cool 'n' cocky "Handshake," is too risqué for radio playback, since
Prettyman's lyrics about being "up against the wall with [her] clothes coming undone" don't suit the stations that would normally play these tunes alongside selections by
Norah Jones and
Missy Higgins.
Prettyman is most at ease when she ditches the desire to write the next "Bubbly" and, instead, steadily chips away at her own niche, a move that might not garner any
Jack Johnson-sized fame but
does unearth such gems as "In Bloom." With pianos and strings underscoring
Prettyman's somber delivery, "In Bloom" is a moving finale, a late-night ode to heartache that is so forlorn, the key doesn't even resolve itself at the end. Perhaps that's a strange move for someone who previously gravitated toward sun-kissed songcraft, but
Hello is proof that
Prettyman has grown into a full-fledged musician, not just a former surfer-turned-model who thought strumming chords was more promising than chasing waves. ~ Andrew Leahey, All Music Guide