Megan Moroney | Cloud 9 Review

By Bea Willis

Megan Moroney’s Cloud 9 is built on compression of songwriting. Across fifteen tracks, most landing at or under the three-and-a-half-minute mark, demonstrates a consistent commitment to structural efficiency with compact runtimes, disciplined form, and choruses engineered for lift without sprawl. The architecture is familiar with predominantly Verse → Pre-Chorus → Chorus → Bridge → Final Chorus. Where the album shines is the precision in how tightly those sections are proportioned and how strategically tension is managed before release.

The title track establishes the blueprint immediately. “Cloud 9” moves through its opening verse with rhythmic steadiness, pulling instrumentation back in the pre-chorus before widening harmonically and rhythmically at the chorus entry. That restraint of momentary thinning before impact recurs throughout the album. “Medicine” and “6 Months Later,” both hovering around the three-minute mark, demonstrate similar economy: verses that avoid excess melodic movement, pre-choruses that subtly raise register and harmonic anticipation, and choruses that expand intervallic range without extending duration. The lift is measured, and that is the key to the appeal of the songwriting structure.

One of the album’s most consistent engineering decisions is the management of dynamic space immediately before the hook. Instrumental pull-backs often reduce instrument density or thin harmonic texture to create a micro-suspension that makes the drop of the chorus feel larger than the arrangement would suggest on paper. This is contrast-driven impact.

The choruses themselves are structured around concise melodic cells. Rather than layering multiple hook phrases, Moroney’s tracks tend to anchor each chorus in a single repeatable motif. “Beautiful Things” and “Stupid” exemplify this approach with catchy, concise phrasing, Moroney’s clear rhythmic alignment with the groove, and well-placed ornamental extension. The memorability comes from a disciplined approach to repetition, making songs easy to sing along with and enjoy.

Groove stability further reinforces the album’s structural grid. Mid-tempo 4/4 dominates, providing a consistent rhythmic framework that keeps attention on sectional contrast rather than metric variation. Even when the groove shifts into a 6/8 sway, as in “Convincing,” the proportional architecture remains disciplined with the verse, pre-chorus, and chorus retaining their calibrated lengths and lift mechanics. Likewise, when harmonic shading deepens in “Liars & Tigers & Bears,” the formal blueprint does not loosen. Surface elements adjust, but the sectional logic and release strategy remain fixed.

Chorus construction throughout Cloud 9 prioritizes memorability through repetition discipline. Rather than layering multiple competing hooks, songs such as “Beautiful Things” and “Stupid” center the chorus on a single rhythmic-melodic phrase, reinforced by groove alignment and clear downbeat emphasis. The melodic contour typically expands upward from the pre-chorus, but the structural footprint remains compact. Expansion occurs in intervals and vocal register instead of added bars or instrumental interludes.

Bridges operate primarily as reset mechanisms. In several tracks, instrumentation either shifts or feels change to spotlight vocal phrasing before the final lift. In others, harmonic color briefly widens, introducing subtle contrast without altering formal proportions. “Waiting on the Rain” exemplifies this approach with a momentary reduction in density that creates space, setting up a final chorus that increases harmonic width through stacked vocals rather than extended repetition. The effect is dimensional expansion.

Runtime discipline reinforces this design logic. A majority of the album’s tracks sit near or under 3:30, limiting opportunities for sectional excess. Pre-choruses are proportionally brief, bridges are concise, and final choruses rarely add new material beyond stacked harmonies or slight dynamic amplification. The songs conclude shortly after delivering their primary hook cycle, preserving momentum.

Production supports this framework. Acoustic guitar frequently establishes the rhythmic grid, providing a stable foundation against which sectional contrast is measured. The mixes maintain vocal-forward clarity, ensuring that chorus entries remain the focal point of each build. Dynamic escalation is proportionally scaled to reinforce the sectional framework.

Vocal behavior aligns with the structural engineering. Moroney’s beautiful register lifts consistently coincide with pre-chorus or chorus thresholds, marking formal transitions. Final choruses often introduce harmony stacking to increase perceived width while maintaining identical rhythmic and harmonic structures. Expressive held notes tend to appear in bridges or at sectional boundaries, functioning as markers of transition rather than ornamental detours.

Across fifteen tracks, the repetition of this calibrated system becomes the album’s defining characteristic. The songs do not seek formal reinvention or rhythmic disruption. Instead, they refine a stable blueprint, optimizing tension-and-release mechanics within strict temporal boundaries.

Cloud 9 thrives on structural economy. Each song is engineered with tight formal control, and the choruses function not as emotional excess but as precisely timed release valves. Each song has expansions built for melodic lift and retention. The impact comes not from surprise, but from execution precision sustained across the album’s entire frame.

Artist: Megan Moroney
Album: Cloud 9
Label: Columbia Records / Sony Music Nashville

Buy and Stream Links
Release Date: February 20, 2026

About the author

Bea Willis

Author

With an unwavering passion for music that began at the tender age of five, I embarked on a journey of self-expression through the piano, later expanding my repertoire to the guitar and the art of singing. As a seasoned performer in cozy coffee shops and harmonious choir ensembles, I've immersed myself in the diverse tapestry of musical genres, seeking to uncover the intricate qualities that strike a chord within our souls.

Beyond my personal experiences, my journalistic pursuits have led me to explore the stories and inspirations behind the melodies we hold dear. As a music journalist, I aim to delve into the heart of each composition, shedding light on the creative minds that have shaped the soundscape of our lives.

In my downtime, you can find me serenading my loyal canine companion with heartfelt tunes on the guitar or indulging in retail therapy to enhance my ever-growing wardrobe. Songwriting holds a special place in my heart, and I yearn for the day when I can share my creative talents with the world. Until then, my passion for uncovering the emotional power within music continues to drive my insightful reviews and analyses, as I journey through the rich landscape of melodies that move us.