On D R E A M S I C L E, Maren Morris isn’t just turning the page, she’s writing a whole new book in her own pen. Morris’ fourth studio album finds the Grammy-winning shapeshifter navigating through grief, joy, and transformation with a clarity that’s both defiant and kindhearted. And this time, she’s fully in the driver’s seat, with the seatbelt off and windows down. “This album takes place in the aftermath of loosening my grip,” Morris says, describing D R E A M S I C L E as a reflection of life lived in motion, at times messy, magical, and never quite going as planned. “It’s about appreciating the beauty and nuance of life while it’s happening, not after it’s too late.”

That spirit pulses through the album’s DNA. Co-written with pop powerhouses Julia Michaels and Tobias Jesso Jr., and produced by the dream duo of Jack Antonoff and Greg Kurstin, D R E A M S I C L E glows with the sheen of pop ambition but hits with the weight of lived experience. It’s a shift, yes, but it’s one that makes perfect sense for Morris, who’s been ready to change lanes.

Over the last decade, Morris has proven herself to be country’s most impressive stars, scoring a Grammy, five CMA Awards, and a 6x-platinum smash with Zedd (“The Middle”) while sharing the mic with everyone from Stevie Nicks to Hozier. And with the Highwomen (Maren, Brandi Carlile, Natalie Hemby, and Amanda Shires), she scored a top 10 album with their self-titled debut in 2019. While her own albums - Hero, GIRL, Humble Quest, traced a steady arc of artistic growth, D R E A M S I C L E is something else entirely. It’s an artist unafraid to be real, radiant, and fully herself.

But D R E A M S I C L E doesn't trace trends, it owns every scar, sparkle, and shadow. It’s an album that doesn’t flinch, even as it finds hope in heartbreak and levity in loss. “I’m still who I am - and that’s pretty fucking great,” Morris says. On D R E A M S I C L E, she sounds more than great. She sounds free.