Glorious Imperfection: Lauren Watkins Finds Her Balance in “In A Perfect World”
By Christian Lamitschka for Country Music News International Magazine
Artist Profile: Lauren Watkins
Lauren Watkins is a Nashville native, a rarity in Music City, whose sound is steeped in authenticity and traditional country grit but laced with modern wit and pop sensibility. Often praised for having an “effortlessly smoky” vocal quality, her style inhabits the space between the storytelling prowess of Kacey Musgraves and the swaggering edge of Sheryl Crow and Miranda Lambert. Watkins cut her teeth performing in Nashville’s honky-tonks during her teenage years before pursuing a marketing degree at Ole Miss, where she discovered her passion for serious songwriting.
Upon returning to Nashville, her talent was quickly recognized, leading to a signing with Nicolle Galyon’s Songs & Daughters and Big Loud Records. Following her critically acclaimed debut, The Heartbroken Record, Watkins’ sophomore album, In A Perfect World, finds her in a new phase of life—newly married to producer Will Bundy (who co-produced this record). This album balances the chaotic energy of life on the road with the grounding calm of building a home, resulting in a cohesive, intimate, and often witty portrait of love in its most realistic, imperfect form. She co-wrote all ten tracks, collaborating with heavy-hitters like Natalie Hemby, Rodney Clawson, and Luke Laird.
Album Overview
In A Perfect World is a concise, purpose-driven album that feels like a conversation with a wise, funny friend. The title is a sly bait-and-switch; instead of chasing utopian ideals, Watkins uses the phrase to point out that the real, complicated, messy moments—the fights, the make-ups, the vulnerability—are what make love and life meaningful. The production, helmed by her husband Will Bundy (with additional production by Joey Moi), is perfectly measured. It provides a clean, rootsy backdrop where the acoustic guitar, subtle pedal steel, and fiddle are prioritized, ensuring Watkins’ expressive vocals and razor-sharp lyrics remain the focus. The record confidently moves between ’70s-infused country-rock (“Love Is Tough”), classic heartache ballads (“Marlboro Man”), and sassy honky-tonk anthems (“Britches”).
Track-by-Track Analysis
1. In A Perfect World (Lauren Watkins, Mia Mantia, Caroline Watkins)
The album opens with a lush, almost ethereal mid-tempo ballad that immediately establishes the central theme. With a gentle, six-eight sway and a touch of Countrypolitan shimmer, Watkins sings about how a flawless life might strip away the meaning of true love. Co-written with her sister, Caroline Watkins, the track uses its dreamy melody to underpin a realist’s perspective: “I love you wouldn’t mean as much / If finding you hadn’t been so tough / I don’t think there’s a place for us / In a perfect world.” It is a beautiful, understated mission statement for the album.
2. Love Is Tough (Lauren Watkins, Will Bundy, Mark Trussell, Lydia Vaughan)
A definite change of pace, this track features a harder edge and a driving, drum-forward beat, leaning into a Sheryl Crow-esque heartland-rock sensibility. Watkins explores the duality of love: it’s tough to find, and it puts you through tough times, but the result is a resilient, enduring connection. The instrumentation, incorporating pop gloss with undeniable country grit, demonstrates Watkins’ versatility and confidence in staking new sonic ground.
3. I’ll Get Through It (Lauren Watkins, Trannie Anderson, Will Bundy)
This song is the album’s great anthem of resilience. It’s a stomping, rollicking barroom track about persevering through a breakup, not with tears, but with a wry grin and a firm resolve. Watkins’ delivery is sassy and empowered as she sings about getting through the bad of a goodbye—even if it means nursing a hangover. The lyricism shines here, particularly the zinger about tossing a “grocery store bouquet” from the ex, confirming that this is heartbreak on her terms.
4. Marlboro Man (Lauren Watkins, Natalie Hemby, Jeremy Spillman)
A wistful, smoky ballad steeped in classic country storytelling, “Marlboro Man” is a highlight that showcases Watkins’ ability to evoke deep nostalgia. Driven by weeping pedal steel and a traditional structure, the song wonders about the rugged cowboy icon from the old advertisements. It’s a romantic lament for a certain kind of simple, stoic masculinity that seems lost, with Watkins crooning about wanting to “make him show a softer side.” The track is a direct nod to the storytelling of Dolly Parton and Loretta Lynn.
5. Slippery Slope (feat. John Morgan) (Lauren Watkins, Will Bundy, Mark Trussell, Lydia Vaughan)
The album’s sole collaboration is a sultry, traditional-leaning duet about an on-again, off-again relationship that is equal parts toxic and irresistible. Watkins and John Morgan’s voices meld beautifully—her smoky warmth complementing his textured rasp. The track maps the emotional rollercoaster of temptation and inevitability, with the chorus’s memorable rise perfectly capturing the feeling of leaning in even when you know better.
6. Average Joe and Plain Jane (Lauren Watkins, Lauren Hungate, Luke Laird, Caroline Watkins)
A truly sweet and humble love song that champions the quiet beauty of ordinary life. Breaking away from the usual country tropes of excitement and chaos, Watkins celebrates a “perfectly predictable” relationship. With a pleasing, simple melody, the song lists the comforts of the mundane: “Average Joe and Plain Jane / Ordinary, sweet, mundane / Making beds and birthday cakes / Sounds good to me.” It is a genuine, stereotype-busting anthem for uncomplicated, stable love.
7. Britches (Lauren Watkins, Trannie Anderson, Will Bundy, Mia Mantia)
Arriving at the perfect moment, “Britches” is pure, unadulterated sass. This honky-tonk number allows Watkins to fully embrace her playful, witty side, aimed at a conceited rival. The lyrics are delivered with a Dolly-esque snap, highlighted by the classic zinger: “You might be a size two, but you’re too big for your britches.” The combination of lashings of steel guitar and piano ensures this track is an instant, fun fan favorite.
8. Lose My Cool (Lauren Watkins, Will Bundy, Rodney Clawson, Nicolle Galyon)
This is the most commercially polished track on the album, a snappy, irresistible song about the one person who can still shatter her composure. Watkins sings about maintaining a tough, independent exterior—”I drink too much whiskey and still don’t come undone”—only to admit she’d “lose her cool” if she saw his truck pulling up. It’s a masterful piece of songwriting that perfectly balances honesty and humor, building to a massive, sing-along chorus.
9. I Was Fine Before I Met You (Lauren Watkins, Rodney Clawson, Luke Laird)
Dripping with retro ’70s and ’80s stylings, this is a masterful breakup song that doesn’t wallow in sadness but instead reclaims independence. The structure is cleverly executed, potentially starting with the chorus to grab the listener immediately. Watkins’ vocals shine as she transitions between hurt and confidence, ultimately concluding, “I was fine before I met you / So there ain’t no reason why, I won’t be fine when you’re gone.” It’s a statement of self-assurance grounded in a beautifully traditional, steel-laden arrangement.
10. Pretty Please (Lauren Watkins, Lauren Hungate, Luke Laird)
The album closes on its most vulnerable and aching note. A sparse, brooding track, “Pretty Please” is a raw expression of jealousy and insecurity, where Watkins pleads for reassurance. The song uses a genius, modern country twist by referring to the other woman as the “second comin’ of Jolene,” injecting the classic country trope with fresh paranoia. This unsettling and heart-wrenching finale—a perfect contrast to the polished opener—leaves the listener with the lingering reality that even in a seemingly ‘perfect world,’ doubt and human fragility persist.
Conclusion
In A Perfect World solidifies Lauren Watkins’ place as a vital new voice in country music. It’s a record that never sacrifices depth for flash, using neo-traditional country instrumentation as a vehicle for sharply written, deeply human stories. She has traded the pure heartbreak of her debut for a complex, more rewarding look at balance—the good, the bad, and the beautifully imperfect. This concise, ten-song collection feels like an album in the truest sense, demonstrating remarkable growth and consistency.