Shania Twain’s ‘Little Miss Twain’: Every Track, Ranked

Twain adopts a slower pace on this sultry track, though the groove proves a bit sluggish and seems to weigh down the impact of her breathy vocal.

One of the most traditional country-leaning songs on the project, this track finds Twain singing of being overwhelmed and happy with a new love. Twangy guitars and vigorous bass spearhead the track, though it gets weighed down eventually by a repetitive chorus.

Twain blends a catchy melody, bright piano, and robust horns for this pop-country confection about a love-scarred person who’s reluctant jump into a potential new romance. “The ash is still warm from the last time I got burned,” she sings. Overall, the song comes across as pleasant, but unremarkable compared to some other songs on the project.

Like a few songs on the album, this breezy anthem is soaked in positivity, advocating for casting off worries and instead focusing on any number of sunny aspects of life. “That’s what I do when I don’t know what to do…I just don’t overthink it,” she sings, bolstered by the polished brand of country-pop that has become her musical calling card over the years.

This sunny track finds Twain singing of relishing being free from toxic romance. Joyous backing vocals, piercing piano and island-inspired instrumentals only add to the song’s feeling of freedom. Meanwhile, Twain’s approach to half talking, half singing fits her laid-back vocal well, and she infuses this pleasant outing with the classic pep that she’s known for.

This jangly, acoustic-driven track reminisces about the early days of a fledgling romance. Layers of harmonies, soulful percussion, shades of doo-wop and sweeping strings surround Twain’s gritty voice, making this a breezy bop.

Twain revels in this harmonica-driven, upbeat anthem about taking a triumphant time off from the daily grind. She sings of intending to keep her music playing at top volume and indulging in some top-shelf drinks “for nobody but myself.” Overall, this makes for a punchy, positive track worth repeated listens.

Slow, classical guitar immediately signals this song’s reflective vibe. Twain delivers one of her strongest, most affecting vocals of the project on this touching track, reminiscing about growing up in a close-knit town in Canada, and how she misses loved ones who are no longer there.

Moody and understated, a mesh of hushed vocals and hazy production lend a smoky feel as Twain again builds on imagery of life growing up in the far North, with teen years filled with fast cars on rural roads, and winters that quickly coat the rivers and trees with a sheen of white snow and ice. The song’s unhurried feel makes for a nice vocal match here.

Twain again dips slightly into a more traditional country-flavored track here, in a pleasant ode to unanticipated romance. “Stranger things have happened underneath the midnight sun,” she sings, her voice never overpowering the song, while the soaring backing vocals, smooth bass lines and steady guitars all blend to make an elegant outing.

The first single from Twain’s new album, this jaunty, danceable anthem brims with flirty confidence, as Twain brings a dance-floor worthy groove and searing guitars to a track about allowing a lover to drive her crazy and even drive her Mercedes, before stipulating a non-negotiable: he can’t drive her truck. A polished, fun and uptempo groove makes this wonderfully enjoyable.

Twain offers up an unexpected collaboration with Queens of the Stone Age frontman Josh Homme here, melding elements of country and rock on a song that’s laced with banjo and bluesy guitar riffs. Twain and Homme link their voices, as Twain sings of a love that has been part of her life as long as the faded blue jeans she’s had since age 17. The texture in their voices, paired with burly drums and precise fiddle, make this one of the album’s more enticing tracks.

“If you were me, how would it feel if you loved a liar and a cheat?” Twain sings, delivering this stinging ballad with achingly blunt force. The song centers on betrayal and the ensuing struggle between relational redemption and choosing to walk away. Twain wraps the lyrics in a vocal delivery that expertly flows from smooth, yearning highs to grainy, weathered lows, giving the song’s sharp lyrics even more emotional depth.

Twain joins forces with The War and Treaty and Rolling Stones guitarist Ronnie Wood, delving into full-fledged gospel jam session territory on this tender track. “I lost track all the times we almost said goodbye,” Twain sings, as the song ultimately centers on a love that endures past the obstacles and near-broken moments. Swells of vocals and a gently swaying rhythm make this a standout track on the project.

Country Music Hall of Famer Tanya Tucker joins Twain on the album’s title track, an ode to Twain’s childhood dreams and the unyielding support of her mother. The song’s pared-back instrumentation puts some of the album’s most vivid stories at its center, as Twain recalls being “smaller than my guitar” when her mother would load up her in an old Chevy and take her to sing in tiny venues, all the while championing her that she would be “the next Tanya Tucker.” That Tucker joins Twain on the song as a peer underscores Twain’s full-circle moment of rising from starry-eyed dreamer to hitmaker and concert headliner.