DESERT QUEEN
“MUSIC BLOWS LIKE THE DESERT”
Written by Kodi Reynolds
It has been five years since Pearl Charles last released a full-length record, the bright and shimmering Magic Mirror, and now the Californian singer-songwriter returns with Desert Queen, an album that both embraces and slightly stagnates within the sound she has carefully cultivated over the past decade. The daughter of filmmaker Larry Charles, Pearl once again leans into her signature blend of disco, funk, folk, and soft-rock nostalgia, channeling the sun-bleached mysticism of the American West. While Desert Queen is consistently enjoyable and undeniably polished, it ultimately struggles to carve out a distinct identity of its own.
The album is largely composed of singles released over the past several years, which contributes to its cohesive sound but also to its sense of familiarity. That familiarity is not inherently a flaw, as Charles opens the record on a strong note with “Does This Song Sound Familiar” and “City Lights,” both newly rendered versions of previously released tracks. These songs immediately establish the album’s groove-heavy, syncopated foundation while subtly nodding to the folk and country influences of her 2018 record Sleepless Dreamer.
“Does This Song Sound Familiar” in particular does an excellent job of setting the tone and theme of the album. Its smooth, psychedelic textures evoke the image of desert winds carrying melodies across endless stretches of sand, framing Charles as a wanderer whose soul is shaped by music and movement. “City Lights” follows with a brighter, more buoyant energy, conjuring the feeling of a neon-lit dance floor pulled straight from a 1970s jukebox. Together, these tracks feel effortless and confident, reaffirming why Charles’ retro-inspired sound has resonated so strongly with listeners in the past.
Unfortunately, it is after this opening stretch that the album begins to lose momentum. As someone who deeply adored Magic Mirror, a record that surprisingly guided much of my musical exploration in 2021 despite sitting well outside my usual tastes, I found myself increasingly disappointed as Desert Queen progressed. Several tracks feel less like new evolutions and more like unused ideas from her previous album. “Step Too Far,” a smoother and more yearning cut, never quite finds the emotional hook that typically defines Charles’ songwriting. Similarly, “Middle of the Night,” a country-tinged dance track, falls short of leaving a lasting impression despite its pleasant arrangement.
This sense of redundancy continues with tracks like the cheerfully upbeat “Givin’ It Up” and the funk-forward “Birthday.” While neither song is outright bad, both feel interchangeable with earlier moments in her discography, reinforcing the impression that Desert Queen is leaning too heavily on established formulas. The most puzzling inclusion, however, is “Nothing On Me,” which veers into a wetter, beachier sonic palette. Its breezy atmosphere clashes noticeably with the arid desert aesthetic that the album works so carefully to establish, making it feel oddly out of place within the tracklist.
That said, Desert Queen is not without its standout moments. “Just What It Is” immediately distinguishes itself as one of the album’s strongest offerings. Anchored by smooth, folk-inspired guitar lines, slow and deliberate drum patterns, and wispy, alluring background vocals, the track feels introspective and emotionally grounded. It captures Charles at her most vulnerable and restrained, proving that subtlety can be just as compelling as groove-heavy exuberance.
The album’s closer and bonus track, “You Know It Ain’t Right,” also deserves recognition. Thematically, it ties the record together in a satisfying way, offering a sense of resolution that some of the mid-album tracks lack. Sonically, it hints at growth, particularly through its crunchy guitar solo, which suggests that Charles is capable of pushing her sound forward without abandoning its roots.
Ultimately, Desert Queen is a solid and enjoyable release that showcases Pearl Charles’ undeniable talent, craftsmanship, and ear for vintage-inspired melodies. However, when viewed through the lens of her previous work, the album feels safe to a fault. It left me wanting more risk, more experimentation, and more individuality. Pearl Charles has proven time and again that she possesses both skill and vision, and while Desert Queen reaffirms her strengths, I can only hope that her next project fully embraces the challenge of reinventing them.
