The song is very focused on Natalie's divorce from actor Adrian Pasdar - and most of the lyrics seem to paint him in a particularly harsh light. That, of course, may portray her feelings accurately, and may, for all we know, be deserved - but it is at least arguable whether it's the best choice for a long awaited trio album. I'm not arguing against divorce themes as such. Emily, after all, built parts of the first Court Yard Hounds album around her own divorce from Charlie Robison - but I don't think any of the songs on that were as openly hostile as this one - and that album was pretty varied.
This song, though is very dominated by Natalie, and the other Chicks have little to do beyond harmony singing - with no glimpses of their characteristic instruments. For me, that makes it a questionable choice for a lead single for the first album by the group for many years.
The video was apparently directed by Seanne Farmer - who is new to me, but I think is best known for work with Bette Midler. The mixture of old news or advertising footage with shots of the Chicks singing or marching is a matter of taste - but the danger is that it can be seen as too quirky and disjointed, Personally, I wasn't too impressed with the style or costumes of the Chicks here - I thought the uniforms were rather too exaggerated and parodied, and a lot of of the glamour, warmth and fun of their earlier work was lost. Yes, perhaps that is necessary for the theme, which emphasizes rejection and mental suffering - but, again, it's questionable whether it is the best choice for a come-back after a long hiatus.
My interpretation of the old, mainly black and white clips worked into the video is that they begin by emphasizing the conventional ideal that society creates around marriage, but quickly turn into the crashing of dreams. Later, they seem to show how society depends on women, in wartime and industrial roles - but later expects them to return to the safe, cosy, more stereotyped roles. For example we see women marching, but that quickly blends into the more conventional cheerleader type roles.
Musically, I found little sign here of the Roots scene, that the Chicks emerged from, and I believe, are still identified with. There are some touches of Western rhythm in the main verse section, talking about Hollywood (which was probably the best part of the song), but very brief later shots of Texan dancing and a Rockabilly-style slap bass, seemed only parody references. Basically, this strikes me as a Pop song, with some touches of experimentation, but not daring enough to go far beyond fairly conventional work. (In both Pop and Mainstream Country, there is certainly more innovative work around - and I find that rather disappointing in what has been awaited and promoted as a return after their long absence.
I think a curiosity and longed for response will potentially give the album a release boost - but how far that will amount to sustained success remains to be seen. Emily has said that this song sets the sound for the album as a whole - and, if so, I think that is a gamble. They may be hoping for a strong appeal to a new audience (but their age, their past record, and their long absence may make that rather difficult). If they are aiming for that, I think part of the secret is to take a substantial part of your existing fans with you. This is only one song, of course, but on the evidence of this, I wonder if they can achieve that.