Nashville’s newest wordsmith, Isabel Pless, rides in on a wave of raw vulnerability and clever wit with her debut album, Workhorse. Spanning a wide spectrum of moods from tender self-affirmation to riotous pop defiance, Pless delivers a record that feels as much like an intimate conversation with your most honest self as it does an exploration of modern womanhood.
“Isabel,” the album’s opening track, sets a contemplative tone. With sparse, stripped-down acoustics underpinning lyrics that read like a letter to her former self— “Isabel, you’re allowed to change your mind”—the song invites us to lean into the messy, beautiful process of reinvention. It’s a gentle reminder that imperfection isn’t just acceptable; it’s necessary.
The journey accelerates on tracks like “Nobody’s Funeral,” where a soaring chorus underscores a frustrating acceptance of life’s inevitable ends. Pless’ ability to channel personal anguish into cathartic anthems is further seen in “The Bite,” a dark, spell-like number that teeters between anger and anxiety, its brooding energy providing a dark counterpoint to the album’s more uplifting moments.
By the time “I Don’t Feel Pretty” arrives, the record hits its stride with a brutally honest self-portrait. Here, Pless dissects the often painful mirror of self-image with unflinching clarity, turning insecurity into a shared lament that resonates on late-night drives and solitary moments alike. Yet even amid self-doubt, there’s a playful spark in tracks like “Blonde“—a headbanging pop romp where witty, self-aware observations collide with electric guitars and a powerful choir of vocals.
Standout among these is “Shirley Temples,” a bittersweet homage to growth and liberation. With the memorable line, “Funny how the weight lifts when there’s nothing left to prove,” Pless captures that exhilarating moment when past burdens finally lose their grip. And in the sardonic farewell of “I’ll See Him in Hell,” her parting shots at a toxic past relationship are both cathartic and defiantly humorous.
Closing out the album, the title track “Workhorse” comes full circle. Pless wrestles with the paradox of progress—the pride of growth combined with the nagging fear of plateauing. The final line on the album, “I’m worried this is the best version of me” speaks volumes and leaves the album on an open-ended note, leaving the listener to come to their own conclusions and reflect on their own growth.
Produced and co-written by Ariza, Workhorse is as much a statement of personal evolution as it is a call to arms for anyone who’s ever doubted their own worth.
If you’re looking for a record that balances introspection with the sort of witty, irreverent humor that makes life’s struggles feel a little less heavy, Workhorse is a ride worth taking. Pless has crafted an album that isn’t afraid to confront life’s contradictions head-on, inviting us all to embrace the uncertainty and often, laugh at our own expense.
For more on Isabel Pless, visit: Website | Instagram | YouTube | Spotify | Apple Music | TikTok
Leave a Reply