The strength of Hope So… is its vibe, an amiable New Orleans rock groove that is influenced by R&B, soul, island music without ever working too hard. Everything sounds effortless, as if it’s nothing more (or less) than the sound of friends making music together. Chris Polocek’s guitar playing stands out for his tasteful embellishments; his solo spots aren’t commanding, but his additions to the verse make everything sound a little more mature.

Appropriately, Liese Dettmer’s vocals sound commonsensical, less the product of brilliant pipes than a rational person performing with friends who’d call her on her shit if she put on airs. The songs on Hope So… often give her sturdy melodies to work with, and she handles them with ease, making the vocals sound like communication, not performances.

Dettmer’s lyrics also sound like something to sing while friends play. They fit the music and they’re fine, but they range from common to the clichéd. I like the idea of songs that document her world—”Stop,” “King Endymion” and “Jazz Fest”—but they sound like composite takes on these events, with any individuality carefully excluded. That doesn’t make the album less likeable because the performances are the thing, but they keep the album from being more than likeable, too.