Mia Wilson is a singer-songwriter from Southern California. In various blurbs, she’s been compared to artists like Carole King and Jackson Browne, who were huge in the late ’60s and early ’70s. For me, though, the first time I heard her voice, my immediate thought was Karen Carpenter. Her vocals have a beautiful clarity, yet there’s an extra warmth and tone that give her a sound all her own.
 
The album opens with "Face to Face" and its sweeping strings. My first thought was Bread’s "Make It With You" but when Mia’s vocals come in, the track transcends. Growing up, there was a lot of backlash against so-called "Easy Listening" music, but over the past 20 or 30 years, it has become clear that good music is good music and it endures, regardless of trends.
 
When I’m listening to music, nuggets of other songs often come to mind, as was the case with "It Must Be So Easy", which reminded me of 70’s icon Gilbert O’Sullivan and his track "Matrimony". Here, the tempo is a bit slower and the key is lower, but that opening chord progression is nearly identical. Don’t be mistaken, though, this is very much its own song, but it highlights the building blocks that go into making great tunes.
 
The next track, "I Want It All" flows effortlessly from the previous one, a sign, for me, that the tracks have been carefully arranged to create a sense of flow. I was always conscious of this when making mix tapes and CDs back in the day. Ah, those were the days.
 
With "What Can I Do?" there’s a hint of country in the slide guitars, but they serve to add texture rather than transform the track from easy listening into country. Again, Mia’s vocals are faultless, and another artist came to mind, Eva Cassidy, which in itself is high praise.
 
Opening with simple piano, "The Dream in Everything" is once again a beautiful track that builds with lush strings. Even as I write, I find myself listening, her voice so captivating, it pauses my writing and demands my full attention.
 
The same is true of "Time Is An Arrow". I can’t help but imagine it as the closing track of a film, playing over the final scene as the story resolves to a happy ending. Its gentle build and emotive vocals leave a lingering sense of warmth and closure, the kind of moment that stays with you long after the credits roll.
 
It’s hard not to feel spoiled. "Going Back" is, once again, like a master class in this genre of music. The track is underpinned by simple piano, enriched with subtle, sweeping strings, and carried effortlessly by Mia’s beautiful vocals. Each element comes together to create a sense of elegance and emotional resonance that lingers long after the song ends.
 
"Still Pretending" feels like the penultimate track, setting the stage for the final goodbye. The question is,will that farewell be bittersweet, or will it end on a note of happiness? Its mood lingers, leaving the listener anticipating the emotional resolution to come.
 
It could have gone either way, and I would have been content. "When You Go" closes out the album with a sense of brightness, yet there’s a subtle undercurrent of reflection that lingers. The track feels like a gentle farewell, uplifting, but with just enough wistfulness to leave an emotional echo as the album comes to its close.
 
This is such a beautiful album, both in vocals and production, certainly one to play when you need a little emotional hug. For me, the only change I might make would be the album cover, which feels not only dated but also austere for an album so bright and beautiful. I’m sure it could put some potential listeners off, which is a real shame.

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