Mandy Moore, “In Real Life.”

Singer-songwriter Mandy Moore continues her evolution to a more organic sound on In Real Life. After waiting more than a decade to release her sixth album, the transformative Silver Linings, she took just two years to form her next effort. Her latest work builds on the singer’s transition away from mainstream pop and toward a folky Laurel Canyon styling.

In Real Life feels like a post-pandemic work, tapping into the emotions of reconnecting. The album also has an added personal intimacy. That’s because Moore wrote it right before the birth of her first child. The singer lyrically envisions what parenthood might look like. Whether purposefully or not, it’s a stark contrast to the experienced mother she played for six years on TV drama “This Is Us.”

It’s tough to quite pin down a sound that defines the record. Mandy Moore experiments with everything from piano balladry to country; all the way to muted indie pop, each passing song offers a different glimpse into her psyche.

The album opens with the title track, a swaying acoustic ballad buoyed by a warm underlying bass and synth. That’s not to say there aren’t some twists and turns, including a violin and guitar solos.

“Somebody loves me/ Somebody needs me/ In real life/ Somebody wants me,” Moore declares, her voice sharp and direct. Interestingly, the video for this song stars Moore’s castmastes on the TV show, which many fans want to believe is real life.

“Heartlands” stays true to its name; a gorgeous Americana-tinged ballad flush with harmonies and a restrained piano-driven sound. The track is intricate and well-delivered. It’s a simple song with a simple message that Moore delivers effectively. The upbeat “Little Dreams” offers up something very different: a bass-heavy tune that fuses indie sensibility with an acoustic singer-songwriter arrangement. Mixing everything from strings to the synths, the song is energetic without going over the top, fitting in with the personality of the rest of the album.

The mood turns for the dramatic piano balladry of “Just Maybe.” Mixing just the slightest pop touches, the track has a very cinematic feel and a rise and fall of cautious optimism.

“Just maybe we’re all that we’ve got/ And that’s more than enough to keep on dreaming,” Moore sings.

Things turn around completely for fun barroom jam “Living in the in Between,” featuring Moore trading vocals back and forth with husband (and Dawes frontman) Taylor Goldsmith. It isn’t Moore’s only collaboration on the record, she also works with Lucius, The War on Drugs and Phoebe Bridgers.

Things stay upbeat for earnest love song “In Other Words,” an acoustic indie rocker built on bright and shimmering guitar playing.

Southern-inspired “Four Moons” features an organic Americana authenticity, while “Little Victories” keeps the surprises coming with an upbeat acoustic jam with nuanced old-school funk flashes. The production throughout In Real Life is strong. With headphones on, you can pick out all of the instruments and harmonies in the arrangements.

“Heavy Lifting” is a relaxed and breezy acoustic love song that comes and goes with a light touch. “Brand New Nowhere” is carefree and funky.

“When we run out of road/ Let’s find a brand new road,” Moore sings, brimming with optimism.

It’s that kind of positive outlook that Mandy Moore carries throughout the record. It permeates both lyrically and musically in the arrangement of the songs. The album closes out on its most intricate and subtle note with the light acoustic touch of “Every Light,” an expertly crafted track.

In Real Life showcases Moore’s growth and maturity as both a songwriter and performer. The album is fun and breezy, but most importantly, it feels authentic to her personal experience.

Follow writer Mike DeWald at Twitter.com/mike_dewald.