A Return to Raw Vocal Power
In an era dominated by electronically processed vocals, Auto-Tune, and heavy digital manipulation, listening to Momo Boyd’s new EP, Miss Michigan, feels like a breath of fresh air. While recent trends in pop have favored the chopped and distorted, Boyd reminds us of the enduring power of a natural, unadorned voice. She is a singer in the truest sense of the word—a belter whose vocal richness lies in its subtle, textural details rather than performative acrobatics.
Best known as the alto of the family band Infinity Song, alongside her siblings Abraham Boyd and Angel Boyd, Momo has long demonstrated her musical versatility. Whether she is navigating soft, pillowy guitar arrangements or lending her talents to a Baby Keem-produced beat, her voice remains the centerpiece. With Miss Michigan, she finally claims the space to showcase her unique, rootsy perspective as a solo artist.
An Intimate Acoustic Journey
The project is a masterclass in restraint, featuring seven unfussy tracks that lean heavily into folky guitars, live drums, and organic instrumentation. It is a collection of classic songwriting that avoids the common pitfalls of over-production. Boyd’s music possesses a weathered, crackly quality that feels both nostalgic and immediate.
Tracks like “Big Country” evoke a sepia-toned narrative, while “Cold Hands” transitions from a haunting, cinematic orchestration into an intimate guitar-strummed soliloquy. Songs such as “Strong” and “Second Best” are deceptively simple, yet they manage to deliver a profound emotional impact through their lyrical honesty and stripped-back arrangements.
Love, Loss, and a Surprising Finale
Thematically, the record is deeply preoccupied with the complexities of love and the weight of personal history. Boyd explores her own romantic experiences through the lens of generational patterns, particularly the impact of divorce. On “American Love Story,” she offers a sharp, biting critique of traditional expectations, singing, “If I wasn’t so American, I might love you more, but giving up my independence, goes against my core.” It is this willingness to embrace a bit of sourness that makes her songwriting feel authentic and grounded.
The EP concludes with “Oops,” a bass-heavy R&B track that serves as a surprising, playful finale. While it stands in stark contrast to the acoustic nature of the preceding tracks, it highlights Boyd’s range and her refusal to be boxed into a single genre. It is a bold closing statement that leaves the listener eager to see where she leads next.
