Emily Ann Roberts has built her career on a foundation of hard work, heart and a deep respect for the roots of country music. From her early days performing on small stages around Knoxville to her breakout as the runner-up on Blake Shelton’s team during The Voice, Roberts has steadily grown into one of Nashville’s most exciting new voices. Her debut album, ‘Can’t Hide Country,' cemented her sound—a refreshing mix of traditional country and bluegrass influences—and drew attention from outlets like Billboard, MusicRow, and People. With more than 78 million global streams to her name and countless performances, including appearances at the Grand Ole Opry, she has proved herself as both a gifted songwriter and a captivating performer.
Now signed with RECORDS/Sony Music Nashville, Roberts is entering a new chapter with the release of her EP ‘Memory Lane' today on October 3. The project follows a string of high-profile tours with artists such as Blake Shelton, Megan Moroney, Cody Johnson, Jamey Johnson and Clint Black, further solidifying her place on the country circuit. Named to the CMT Next Women of Country class of 2024 and even featured as the voice of Trixie St. Claire in Walt Disney World’s Country Bear Musical Jamboree, Roberts continues to expand her reach while staying true to her roots. With her tuneful twang, vivid storytelling and magnetic stage presence, Emily Ann Roberts is carving out a career that blends tradition with fresh energy.
‘Memory Lane' is a masterclass in country storytelling that not only showcases Roberts' vocal versatility but also her ability to inhabit the many shades of womanhood. The project opens with its title track, a haunting ballad that feels suspended between Patsy Cline and Trisha Yearwood. With tasteful piano and restrained guitar as her backdrop, Roberts embodies a woman stuck in the undertow of heartbreak, singing, “There must have been some yesterdays hiding in that half empty bottle of wine.” It’s a track soaked in regret and longing, setting a poignant tone for the stories that follow.
From there, Roberts wastes no time in proving she’s as sharp a narrator as she is a singer with ‘Jack and Jill Daniels.' A fiddle-driven, witty slice of traditional storytelling, it introduces us to Jill—the “prettiest girl in any holler around”—who refuses to be trapped by a whiskey-soaked husband. Instead, she takes control of her own story, even as Jack Daniels’ name goes on to global fame. With its jaunty ‘90s country energy and playful historical twist, the song celebrates a bold, spirited femininity that resists being contained.
The mood softens on ‘Easy Does It,' a tender tribute to steady, uncomplicated love. Here Roberts trades fiery passion for the gentle rhythm of trust, her voice cushioned by mandolin and light percussion. “It’s simple, almost too simple but you’re making me believe little by little,” she sings, evoking the graceful simplicity of Faith Hill in her mid-‘90s prime. It’s an ode to the kind of love that prioritises comfort over drama, a refreshing counterpoint to the turbulence of the opening tracks.
Then comes ‘Pretty in Pink,' a delightful detour into retro fun. Built on a ‘50s kind of ‘Stand By Me'-inspired groove with finger snaps and playful guitar, Roberts revels in femininity with unapologetic flair: “Why be one of the guys when you can be one of the girls?” she exclaims with a nod and a cheeky grin. The song celebrates lipstick, heels and cocktails with umbrellas, leaning into vintage doo-wop charm without ever losing its country twang. It’s witty, bold and endlessly catchy—a potential breakout hit that feels destined for radio while nodding to a Mad Men-style world of unapologetic pink pride.
The high energy continues with ‘Scratching Out a Living,' a barnstorming fiddle workout that captures the chaos of modern womanhood. With rapid-fire lyrics and the rollicking spirit of Garth Brooks’ Ain’t Going Down (‘Til the Sun Comes Up), Roberts paints the picture of a woman balancing work, family and the desperate need for “some me time.” It’s a relatable anthem of exhaustion and perseverance, anchored by a blistering instrumental outro that’s tailor-made to light up a live show. Paired with ‘Pretty in Pink,' it highlights the EP’s strength in presenting both retro and modern versions of feminine resilience.
On ‘The Fence,' Roberts leans into introspection, offering one of the EP’s most poignant ballads. A plaintive pedal steel underscores the tension as she sings of being torn between gratitude for a loving partner and the pull of restless curiosity: “If I settle down would I wonder about what’s around the bend?” she asks. It’s a stirring meditation on commitment and freedom, revealing another facet of femininity—the uncertainty that comes with choice. Roberts doesn’t provide easy answers here, but the beauty lies in the honesty of the question.
The EP closes with its darkest and most daring tale, ‘Bus to Augusta.' Over swampy guitars and a fiddle steeped in voodoo menace, Roberts spins a gripping murder ballad in the tradition of The Chicks’ ‘Goodbye Earl.' An abused woman poisons her husband, flees town, and—with the sheriff’s help—gets away with it. The line “Left a dog for a south bound Greyhound” highlights Roberts’ sharp lyrical eye, marrying wit with chilling liberation. It’s a fittingly bold finale that rounds out the EP’s exploration of women who can’t—and won’t—be confined.
In ‘Memory Lane,' Roberts has crafted a vivid, multifaceted celebration of womanhood—its joys, doubts, burdens and defiance—all wrapped in the warmth of ‘90s country instrumentation and her own tuneful twang. From heartache to humour, from pink pride to swampy vengeance, she covers remarkable ground without ever losing her authenticity. With this EP, Emily Ann Roberts doesn’t just step into the big leagues—she claims her place there with confidence and style.
Tracklist: 1. Memory Lane 2. Jack & Jill Daniel's 3. Easy Does It 4. Pretty In Pink 5. Scratching Out A Living 6. The Fence 7. Bus to Augusta Record Label: RECORDS / Sony Music Nashville Release Date: October 3rd
