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There’s something immediately different about Martina McBride’s “Reckless.” She begins the song at a point she normally builds to, and then lets go to begin a long, gradual chorus. From there it’s anything but the same ol’ Martina.

“Reckless” is mostly chorus. The verses are choppy melodically, accented with machine gun-style guitar chords. The story she’s trying to tell is clear and accessible, however. Few will listen without attaching a face to her message. You’re reckless, or you know someone who is. You’re either the “Martina” or the “John.”

The title track from McBride’s new album is a song of unquestioned love that opens a new chapter in her life, with new characters. Nathan Chapman helped Dann Huff produce the project — McBride’s first on Nash Icon — and his influence is immediately felt. This record is a powerful pop statement that leans into reverb. A crash from the kick drum supports each of McBride’s steps up the scale, but the closest thing to that big ‘Martina McBride moment’ comes with the very first notes.

Every one of her songs is a vocal showcase, but “Reckless” is the first in quite a few years to find her matched by an equally strong arrangement. There’s nothing about this song that says the 49-year-old is relying on old tricks to sell new records. That’s refreshing. Many singers in her position make that mistake and later wonder why radio isn’t interested.