On Friday, February 28, country-rock artist Chelsea Lovitt, dropped her debut album You Had Your Cake, So Lie In It. The album was recorded in Nashville at The Bomb Shelter and was produced by Andrija Tokic.

Lovett draws her inspiration from the likes of the multifarious music of the south, which is immersed in country, rock, soul, and folk. Lovitt knows the south is a map that leads to new places while spreading out the everlasting honesty.

The album was inspired by the culture of the south, and its musical approaches. You Had Your Cake, So Lie In It also has a subtle message that questions the obsession with materialistic wealth, toxic heterosexual relationships, and a warning against the decaying of moralistic values and the atmosphere of segregation. But the album is mainly about heritage and loved ones, and the notion of human identities.

Lovitt’s music is full of cheeky confidence, and foot-tapping opposition. Her style is Johnny Cash meets The Who, rock-n-roll meets country with the underlying lyrical revolt of 60s folk. All nine songs are an effervescent jewel – from filtering through many emotions of adulthood to relaxation-fueled moralizing.

On her retro-country track “Beanstalk,” Lovitt taunts at the unavoidable smashing of our hopes and dreams. The title track “You Had Your Cake, So Lie In It,” sounds like she is calling out a cheating lover. Still, it could most likely be a cross-eyed love song about the growing narcissism within society. But we don’t know for sure. Lovitt indirectly pokes your self-awareness with her own, leaving you to question how you interpret your life, and it is done in such a genius way that it is more amusing than offensive.

Each track is drenched with Lovitt’s personality, and the listener really gets to know her. Indirectly at least. Her music is both reflective and heartbreaking at the same time. The music is also delightful and fun. The cover art and title of the album is an insight to the message that it is okay to laugh at your insecurities and failures. It is the kind of all-knowing humor that is rare to find in mainstream artists’ music.