Since her major-label debut, *Hero*, in 2016, Maren Morris has demonstrated a remarkable ability to reinvent her musical style. The Arlington-born artist first captivated audiences with her R&B-influenced country sound, then shifted to dance-pop in 2018 with “The Middle,” a hit collaboration with Zedd and Grey. In 2019, she infused her sophomore album, *Girl*, with a pop-country blend, and later that year, she embraced a rootsy, Americana vibe as part of the supergroup The Highwomen with Brandi Carlile, Natalie Hemby, and Amanda Shires. As the world emerged from the COVID-19 pandemic in 2021, Morris channeled a 90s Lilith Fair aesthetic, reminiscent of Sheryl Crow and Alanis Morissette, in her third album, *Humble Quest*. While she may not be David Bowie, Morris has shown a clear disinterest in being pigeonholed into one genre.
However, a new single mysteriously appearing online over the weekend has taken fans by surprise. Titled “Espresso,” the track is a stark departure from anything Morris has previously released. With its orchestral sounds, Florence Welch-esque vocals, dramatic drums, and a choir, the song dropped without any official announcement. The record cover features a woman with green hair and the word "GIRL" boldly emblazoned across her body, adding to the enigma.
Is this really Maren Morris? The song was uploaded to her YouTube channel and is available on her Apple Music and Tidal pages. Although not on Spotify, it’s not unusual for official releases to stagger across platforms. If it isn’t Morris, there’s been a significant mix-up. Given Morris’s history of musical evolution, this dramatic shift warrants a closer look.
Attempts to confirm the release with Morris's label and publicist on Monday morning have gone unanswered. If this new direction is intended to build intrigue, a response might not be forthcoming soon. Conversely, if this was an error or metadata mishap, the lack of correction over 24 hours is notable, as PR issues are typically swiftly addressed.
Why is the song called “Espresso”? One of this summer’s popular singles is Sabrina Carpenter’s “Espresso,” a catchy pop tune about a girl who keeps a boy awake all night, akin to a caffeinated drink. Releasing a song with the same title while Carpenter's is still charting is odd, especially since Morris's track has a more ethereal, Gothic tone, quite different from a “coffee and late nights” vibe.
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