Maren Morris, “Dreamsicle.”

For her fourth major label album, Maren Morris doesn’t hold back. Dreamsicle plays on her country roots while dipping heavily into pop, furthering what she’s been doing for several years. It also showcases her vocal range and lyricism.

The songs on her first record since 2022’s Humble Quest come together in a wonderfully holistic way as she uses music as medicine.

Considering Morris’ divorce in late 2023, it’s no surprise that heartbreak fuels a lot of these songs. But it’s not a “heartbreak album.” Most of what Morris focuses on is the journey back and the peace she’s found since, which is a big thematic element here.

Piano ballad “carry me through” layers in a backing choir as Morris sings about healing as a conscious act. Every day is a choice and Morris sings about being the only one at the end of the day who can carry her through hard times.

In a similar vein, glittery and upbeat album opener “lemonade” likens making lemonade with trying to please others. “I’m so sick of lemonade/ All this squeeze ain’t worth the juice/ Pour some sugar over me/ Still not sweet enough for you,” Morris sings over a light backbeat as she regrets time wasted trying to make herself into something she wasn’t.

“Too good” also explores self-worth and ridding your life of people who don’t see your value. Layers of harmonies and fingerpicked guitar add a country twang, recalling her earlier material. It’s a lovely pick-me-up track.

The heartbreak does bleed into the music directly from time to time, including on “i hope i never fall in love.” Morris’ vocals are slightly haunting, with a subtle echo and reverb as she croons about how badly she’s been hurt and broken promises. “This is how a woman leaves” is equal parts sad and empowering. Poppier than the former, it crescendoes at the chorus, mimicking the meeting your wit’s end. She uses that anger to push her voice with louder, longer notes.

Maren Morris experiments more with types of pop than she’s ventured into in the past, all of which land successfully because they fit next to each other. “People still show up” kicks off with a funky bass solo, soon expanding to a palette full of rumbling synths and jazzy percussion, making it feel like a trip to the ’80s. Her matter-of-fact singing here, about friends showing up to help in a time of need, is akin to spoken-word poetry.

Morris also experiments on “Dreamsicle,” the dreamy title track. Its lightly strummed guitar and her airy vocals (about the fleeting, changing nature of dreams) recalls Karen Carpenter.

Standout “grand bouquet” is a sweet guitar ballad about looking for grand gestures while missing smaller pleasures. “Been so busy praying for my grand bouquet/ Not noticing you gave me a new flower every day,” she sings in the chorus. The song is about taking blame in the deterioration of a relationship and hoping for a magic fix-all act of love that can blind you to the little steps of improvement. The song recalls Kacey Musgraves’ more touching balladry.

Dreamsicle is an authentic expression of pain, healing, self-reclamation, joy, exploration and hope in a 14-track package of acoustic guitar ballads and synth-tinged love songs. While not new for Morris, her excursions into pop are well-executed and showcase her fluidity as an artist.

Follow writer Piper Westrom at Twitter.com/plwestrom.