If it seems vaguely insulting to call the smashingly successful “Idol” alum’s material formulaic, know at least that it is, three albums in, one of the most well-honed formulas in the business.
Underwood’s MO is equal parts good-riddance-to-bad-boys stompers like, (“Cowboy Casanova,” and “Undo it”) and fervent balladry like, (“Mama’s Song,” and “Change”) consistently serves her [...]