Rating: 4.5/5

The resurgence of country music in the UK has been somewhat phenomenal. With the last phase of country popularity having coincided with the peaking popularity of LeAnn Rimes, Shania Twain and Faith Hill, it could be argued that the questionably country Taylor Swift has sparked an interest in the genre once agai, with her now Avril Lavigne-esque compositions. However, it is rather important not to negate the significance of Nashville trio Lady Antebellum. Having formed in 2006, the success of Hillary Scott, Charles Kelley and Dave Haywood has been no less than meteoric. With an array of Grammys and CMTs to their name, and even a BRIT nomination, it is unsurprising that expectations are high for the trio's fifth album in as many years. Having hit the number 4 spot with their 2011 release 'Own The Night', can Lady Antebellum finally catch themselves the chart crown with 'Golden'?

While 'Golden' deserves the pole position, it is unlikely to make the same impact in the mainstream as Wyomissing's Swift. Whereas Swift has cashed in on her teenage pop Queen dreams, by compromising her genre for radio friendly anthems, Lady Antebellum stick true to their roots.

Though there is no denying that 'Golden' is packed full of easy listening country gems, their appeal is still aligned to a minority genre.

But do not let that stop you purchasing the trios finest effort to date. Opening the album with the riff-a-rific 'Get To Me', Scott's determined vocal sets the tone for what is to come. As Scott so flawlessly demonstrates, unlike other genres, where knob-twiddling is far more rife, at the heart of country music is one essential requirement - a distinctive, clear, emotionally charged vocal. As Scott has proven time and again, her vocal has the capability to make the spine shiver and Lady Antebellum's latest release gives her plenty of opportunity.

In contrast to Scott's rich vocal, Kelley's gruff presence is equally important. A defining feature of Lady Antebellum's appeal is the diversity in their tone, and Kelley's coloured vocal on the Springsteen drive of 'Goodbye Town' is equally notable.

While there is no denying Lady Antebellum veer towards the ballad terrain, which may or may not be your cup of tea, there is no excuse for not seeking out a listen to 'It Ain't Pretty' - which is without doubt Lady Antebellum's finest moment to date. With Scott showing her vulnerability, the delicate vocal approach takes its lead from Dolly Parton and Loretta Lynn, who both know the virtue of reigning it all in. Devastatingly honest, 'It Ain't Pretty' is stripped back heaven.

'Golden' is far from an unexpected release from the Nashville trio - and while some may complain of a lack of growth in the troupe's artistry - the old saying goes 'if it ain't broken, then why fix it?'

Lady Antebellum have got to their privileged position by not compromising their sound, and if they keep releasing material of this exceptional standard, there is no doubt they will continue to do so for a very long time.