goldenmusicmoments

[goldenmusicmoments]

Tinashe Drops The Second Part Of The Trilogy, Quantum Baby:

Tinashe started to tease the release of part two to the trilogy record with the release of ‘Nasty’. The track was a catchy record that had this sexy feel to it. It was well received by those that listened to it and got them excited for what was to come. The song gradually grew and ended up going viral. Which led to it charting on the Billboard Hot 100. It managed to linger on the charts for a good couple of weeks before just recently departing. When the album finally came out it debuted on the Billboard 200, which part one failed to do (it deserved so much more than it got). There is always a lot of hype on social media, however when the artist does release they don’t show up. This is another well put together record that highlights the versatility and vision Tinashe possess. 

The album opens with a brief intro titled ‘No Simulation’, on this spacey start Tinashe sings about how we are all in the search of something. She then lets it be known that she is in search of the truth. The vocal layering and harmonies are tight, and well placed. A captivating beginning that closes out with spoken words. This sets intrigue for what’s to come.

We are seamlessly led into the first of the full length tracks ‘Getting No Sleep’, this fast paced track is about her lack of sleep due to her infatuation with the person of interest. She’s busy with all that is going on in her life, work taking up most of her time and so the only time she gets to be with the person of topic is at night. Which is why she isn’t getting any sleep. Though the beat is high energy, her vocals are gentle and laid back. However the production and the vocal delivery work together really well. The effortless vocals in a way play to her being tired due to the lack of sleep. Now we transition into ‘Thirsty’ seamlessly as well, however the mood shifts into this more sultry vibe. Here she’s trying to catch the attention of someone she’s interested in. She’s not being coy about her desire for the person she’s singing to. The production is slick and the intricate details intertwined give this track a mesmerising touch.

Things come to a stop before we get into ‘Red Flags’, now this one takes a more emotive turn. Here she sings about how at the start of the relationship she overlooked all the red flags, however now they’ve become hard to ignore. Though she feels it maybe time to move on, she still finds herself thinking of him. Her vocals are placed at the front of the hypnotic beat that has an eerie nature to it. Before you know it the song comes to an end, leaving you thinking ‘wait that’s it?’.

The immediate vocals backed by these beautiful harmonies in the back at the start of ‘Cross That Line’ grab your attention. Then when the beat comes we fully get into this dreamy moment that fills the space around, embracing you in its spacey and vast vibe. The beat gradually picks up its pace. The song is about her wanting to grab the opportunity with both hands, rather than finding out to late that she ended up letting go of someone who could have been the one. The bridge has this breakdown feel, which could provide for a great choreography moment for a live performance. 

We then move onto ‘When I Get You Alone’ and here the production is high energy from the get go. Her heady vocals give this track this light feel that gives you this elated vibe. She sings about her desire for the person of interest and how she wants to spend some one on one time with them. It continues the albums theme revolving around infatuation. Then she switches things up for the outro, which shifts the vibe of the track slightly.

‘No Broke Boys’ follows and this infectious track is one that instantly finds a place in your memory as you find yourself singing along to the hook. Its got this bouncy beat that will have you moving to it. It’s a light track in which she is making it clear that she has standards and there is a particular criteria a man must meet in order to be with her. It feels like an anthem for women who are aware of their worth. This was pushed as the next single when the album was released, as she took to TikTok to create a dance challenge. It feeds mainstream appeal whilst retaining her essence.

The closing track is the viral hit ‘Nasty’ which also finds a place in your memory from the get go. To a point where you would find yourself repeating the hook at the most random of moments. It has a sexy feel to it and one that will surly have you moving to it. It was a great choice for creating buzz around the release of the album, getting people to then look forward to what was to come. A fun note to leave things on.

Overall Tinashe delivers another body of work that she’s had a clear vision for. This records feel is different to that of part one which really plays to each part being a new chapter in the journey. This one depicts growth from the chase to then as we get to the end knowing that she should be the one being chased. It feels cohesive due to the production choices, however does so without feeling monotonous. Now what will the third part of the trilogy hold, here is to hoping that she releases it next year.

[goldenmusicmoments]

The Greatest Pop Star Of The 21st Century:

So Billboard decided to do a list of the greatest pop stars of the 21st century. They gradually revealed the list over quite a drawn out period. When they got to the top two the last two artists that had yet to be mentioned and were the obvious ones that were going to take one of the spots, were Taylor Swift and Beyoncé. Twitter in particular became a hotspot for discussions, were fans of both artists highlighted why the artist they backed deserves the number one spot. When Taylor Swift was finally revealed to be in the second position on the list, it was clear then that Beyoncé no doubt was going to take the top spot. Billboard just officially announced Beyoncé as the number one greatest pop star of the 21st century. However there since has been a huge breakdown on Twitter over it. With Taylor Swift fans shocked and surprised as to why she wasn’t the number one pick. As her chart accolades and commercial performance have very well been unmatched. It was then revealed that there was more to the criteria, that it also factored in impact beyond commercial success. 

The list is one compiled by staff members and based on their opinions. So there wasn’t truly a need for all the outrage and disarray the list has caused. Both Taylor Swift and Beyoncé are incredibly talented artists. Beyoncé being placed atop is well deserved no doubt. It is understandable that oft times fans want to see the artists they support come out on top and that they can end up feeling disappointed. Everyones opinion and assessment on what makes a pop star varies. Taylor Swift not being crowned number one doesn’t take away from any of her achievements or talent. But the mess that has since ensued on social media and then media publications jumping in on it now as well, has been rather twisted. The Beyhive have taken the opportunity to run with the hashtag #swiftieracism which seems like a desperate attempt to attack Taylor Swift, even now they seem to feel threatened to some extent. As the vast majority of the tweets they are associating to that hashtag aren’t even from Swifties. Even the ones with Taylor in their profile pictures aren’t actual fans, many are accounts that switched their profile pictures, updated their bios and tweaked their timelines to add fuel for their fellow Hive members to light up. 

We’ve seen this happen in the past with those that dislike Taylor Swift to pose as fans and tweet racist attacks. However when you are so desperate to propagate a certain stereotype that you’ve been using in relation to Taylor Swift’s fanbase, you fail to verify anything. When the hashtag began to take off, I was in disbelief that this really can’t be true to this extent. Yes you’ll always have a few bad seeds in every and any fanbase. I decided to look into these accounts, most of the people that were feeding into the hashtag were sharing screenshots of the tweets rather than quoting the actual poster. Which they thought would deter most from doing their due diligence. When looking at these accounts some of the ones with Taylor now their profile picture had been up till that moment retweeting and tweeting content that was against Taylor Swift, then you had a vast majority of Lana Del Rey fan accounts and then a bunch from other fanbases. Now we very well know that the Beyhive aren’t actually wanting to tackle racism, they just scour for a reason to tarnish Taylor Swift’s legacy. As they’ve always had some sort of animosity towards her. 

If they cared about racism and were honest in their intent then they’d also tackle its existence amongst their own cohort. The media has now also run with headlines about Swifties and said racist remarks, looks like they aren’t bothered to check for credibility when in pursuit of a catchy headline. The Beyhive continue to ignorantly run with stuff in relation to Taylor Swift and it is obvious what they hope to achieve in the end. Now you have bitter Charli XCX, Olivia Rodrigo or Billie Eilish fans stampeding over to scream ‘We stand with the Beyhive’. Any fan base that has seen their favourite artists lose when up against Taylor Swift have jumped on the opportunity to attack Taylor Swift. 

It has become such a tired tune they sing about Taylor Swift. That according to them she is mediocre, she has no talent and that she is only successful because of white privilege. Just because you struggle to comprehend or grasp what makes her standout to so many people and why she has the success that she has, doesn’t then mean she isn’t talented or successful. Of course white privilege has had a hand in making things easier for her to some degree, however it is her talent that has carried her this far.

Racism has no place anywhere and those that are posting these vile tweets need to understand that it is not acceptable. There is no excuse that could ever validate racist remarks. Also the Hive should have been celebrating, however instead they took attention away from Beyoncé’s big moment and made it about Taylor Swift and her fans. The article that was meant to be in celebration of Beyoncé’s crowning ended up trying to explain their reasoning and also brought up Taylor Swift a hefty amount of times. Which shouldn’t have been the case, it should have solely been focused on all of Beyoncé’s achievements and the impact she has, that has brought her to this point. 

[goldenmusicmoments]

The Story Of Us Continues As Gracie Abrams Releases The Deluxe Edition:

Gracie Abrams releases a deluxe version of The Secret Of Us, she had hinted at the deluxe previously when she gave everyone an insight to the placement of ‘Close To You’ on the standard edition. It’s great that she wait a moment rather than releasing it alongside the standard version, which seems to have become a trend to do in order to boost first week sales. Lets see how this tale continues.

Cool - This is the first new track on the deluxe and this one is really specific, which allows for the listener to figure out who she’s singing about. The instrumentation at the start surprises you drawing you in, it gradually fades then blending with the rest of the production. It is a gentle track that hosts a lot of resentment which is felt through her vocal delivery of the charged lyrics. She feels as though he built her up, just to then break things off. Singing her the usual tune that one does when they are into someone and getting her excited. In the end he leaves her feeling like a fool and that he played her. However she says she’s all cool about it and is moving on. The production is in line with her vocal, it stays consistent in pace throughout.

That’s So True - We come to what feels like a more playful moment, however she keeps taking jabs at him. It could be a continuation from the last track. Here he seems to have moved on, however she’s thinking about whether the girl he is with is aware of his tendencies. She wonders whether the new girl does the same as she did, and that is what draws him to her. She wants to tell the girl that she’s been where she is. The bridge lifts into chaos, which has become a signature structure to her songs. This song somehow ended up going viral on TikTok which enabled it to debut high, out peaking all her previous entries on the Billboard Hot 100. It has since climbed into the top ten, becoming her first top ten hit. It is definitely a catchy moment.

I Told You Things - She returns to a more gentler pace on this sombre piano driven track that is fascinatingly structured. Again the opening production that eventually fades feels right in your face at the start. She’s left with this feeling of regret, regret about opening up to him in a way like she had never before. It's this feeling of hurt that you let this person in only for them to hurt you. The track starts with a chorus. Then we get into the only verse and it is a long one. In it she sings about all the moments where she felt like reaching out or responding to him, she stopped herself and she’s glad she did. She can tell he is not the same person he was when they were together, which makes it easier for her to let go.

Packing It Up - The guitar makes a comeback to take centre stage on this final track on the deluxe edition. Here she sings about discovering new love when she wasn’t actively seeking it. Just as she was on the verge of giving up, that is when he happened to come into her life. She’s happy with this new chance at romance, and she’s hoping it works out in the way that she hopes. She hopes that he accepts her for who she is. It brings this records journey to a close on a happier note.

The four tracks provide with a conclusion to the story. There is more specificity here, which gives you more of an insight to who the songs are about. These songs feel like a continuation to the journey both through topic and sound, rather than left overs being thrown in for the sake of it. The story comes to a happy ending and you feel joy for her, hoping that this time things workout better for her. There is a digital version that features the the Vevo live performances of ‘I Love You, I’m Sorry’, ‘I Knew It, I Know You’ and ‘Free Now’, which are beautifully done and the alterations are tastefully done. Gracie seems to be a controversial artist, one who’s nepotism keeps being brought up. Yes that had a hand in getting her where she is today, however what is carrying her is her talent. People seem to have picked on her as the easy target to attack and constantly say how she’s not that great. Which is very reminiscent of how Taylor Swift was perceived and still is to this very day. Hopefully Gracie doesn’t allow all the unwanted noise to get in the way of her creativity and that she keeps to making music that is true to her as an artist. She is definitely one of the standout young artists and she still has so much to give. 

[goldenmusicmoments]

Gracie Abrams Draws You Into Her Chaos On Her Sophomore Album The Secret Of Us:

Gracie Abrams dropped her sophomore album this year, which felt pretty soon after her debut that was released last year. Good Riddance was a great record and one that found her in the same realm of emotions from start to finish. Which in turn allowed for that record to feel both thematically and sonically cohesive. On her second effort there is more diversity in where she goes in terms of emotions and production. So lets get to dissecting what this secret is.

Felt Good About You - Gracie starts the album on a note of disappointment. The relationship seems to have started on a high, however with time its gone downhill. The person of interest has left her regretting the relationship. The production stays steady on most part with a bit of a prodding edge to the beat that is threaded throughout the song. Near the end the introduction of the tambourine gives the track more of a dynamic. The vocal delivery here gives the track its moody vibe. It's a start that feels like she’s still where she left of on her debut Good Riddance, however it sets intrigue for how she will progress emotionally. 

Risk - This lead single now follows and here a sense of excitement surges through her. She seems a little chaotic as she confesses her desire to pursue this person. She’s willing to take whatever risk may be involved in getting with the person of interest. She’s aware of everything that could potentially occur, however she doesn’t care. Her desire supersedes it all. This guitar driven track is a change in direction for Gracie, as she seems more confident in what she wants. The hook is infectious and this upbeat track that changes the mood quickly finds a place in your head. The airy vocalisations give this track a dreamy touch.

Blowing Smoke - Just when we thought Gracie was heading upwards, she returns to feeling sad and hurt. Things take a turn on this track as here she is struggling to move on from the relationship that has ended. While at the same time she seems to feel a level of envy of the person her ex is with now. She’s in her head about it and that isn’t doing her any good. The guitar led production is pretty tame on most part, however builds as the track progresses with things feeling more and more intense. In the bridge there seems to be a sense of resentment, as she now finds the things about him she once found cool, repulsive.

I Love You, I’m Sorry - Feelings of regret fester within her, as she deals with this relationship that has come to an end. Love still lingers on her end and she finds herself apologising whilst confessing she loves him. It keeps to the acoustic feel of the record so far, however there is a lift in the bridge but that is more down to her vocal delivery. She’s chaotic in her delivery during the bridge, as she’s going through the occurrences during the relationship. It was a rocky relationship with both having their own shortcomings. You find yourself lost in the track as it fills the space around you, and with headphones during the final chorus you can really hear the vocal that is lightly placed behind the main vocal. The track ends and you feel like you can finally take a breathe. 

Us (Ft. Taylor Swift) - This highly anticipated track serves as the title track. There was speculation that the two would collaborate as Gracie opened up for The Eras Tour. Here the two explore the feelings of regret and longing they are experiencing after the demise of the relationship. The repetition of ‘Us’ in the chorus really emphasises the longing. They seemed to have had quite the intense connections with their exes, and thus they wonder whether their ex partners have lingering feelings like they do. The bridge is intense both through the lift in production and the aggression in delivery of the lyrics. However things calm down and the song ends on a pretty note. This cinematic track is one of the prettiest moments on the record due to the melody of its hook. The two coming together here truly exceeded expectations.

Let It Happen - Here it seems like Gracie may have encountered someone new and all though she has been through so much when it comes to love in the past, she wants to give herself to this new person. She feels vulnerable as she is open with her feelings, she lets it be known that though she may not love him yet, she feels like she eventually will once she lets her guard down. She’s fighting these conflicting feelings of wanting to give herself to this person due to this strong desire for them to then wanting to hold back for now as there is fear of potential heartache. It is a journey of grappling with all these conflicting emotions to eventually surrendering to the emotion that is leading the race. The bridge lifts into this intense delivery of the lyrics and it highlights the strength of her feelings. You find yourself completely caught up in this moody guitar driven track that builds in production as it progresses.

Tough Love - Gracie gives us another upbeat moment on the album here, however this is the opposite of the first one. Here she is prioritising herself over a relationship. She wants to grow and discover who she really is. She definitely needed a break from it all and time for herself, her realising this feels like she’s headed in a positive direction. The guitar strings and her vocal delivery give this track an intense and moody feel. She really likes to lift in the bridge and that heighten the feelings she wants you to feel. You come to realise that the way she sings the chorus seems like she does it without ever taking a breathe and so when the track comes to a close you take a breathe on her behalf. 

I Knew It, I Know You - Here the guitar takes a gentler turn as she gives us a more mellow moment. This one is a standout on the album, particularly due to its structure. On this track she seems really self aware as she lists out her shortcomings. It seems that she is apologetic, but then decides to change her mind refusing to say sorry. Then the guitar picks up leading into her vocal delivery gaining intensity in which you feel a sense of frustration. After it reaches the crescendo moment, she switches it up to close out the track. However the ‘down’ that leads us into this turn in the track is a pinnacle moment here. It feels like she’s reached a breaking point. However now on this dreamy outro she lets it be known that she was the one giving her all, whilst he wasn’t putting in much of an effort. She says that now she is finally looking out for herself. The repetition of ‘down’ brings this surprising track to a close. 

Gave You I Gave You I - On this heartbreaking moment that begins with these piano keys that then are sparsely threaded through the rest of the track, Gracie expresses how she felt used and heartbroken in this relationship. The production is pulled back for the verses, however slightly lifts for the chorus. She seems to have been the one holding things together, whilst he gradually lost interest. He also doesn’t want to take ownership or acknowledge what happened, whilst she lets it be known that there isn’t any point in denying as she knows exactly what went down in this relationship. The chorus really feels dreamy and grand, which is both due to the production on the track and her vocal delivery. You really feel the pain in her voice during the last chorus, then the repetition of ‘Oh you got bored and I felt used, know I’m so sad about it’ closes things out. The repetition of that one line highlights the lingering feeling of sadness that doesn’t seem to want to fade.

Normal Thing - We move onto this fascinating track which is very gentle and remains at a steady pace for its entirety. Though the production is behind her vocal and seems to be restrained in volume, there is a lot going on with the instrumentation and that draws your attention to it. As the song progresses and you get into the lyrics, you notice why that may be. The multiple sounds coming together represent the various thoughts that run through your head at the same time when experiencing a relationship, your mind is thinking about all of it at once. The past, the present and the future, which then leaves you feeling rather anxious. A sombre moment that leaves you feeling lost in your mind for a moment.

Good Luck Charlie - Things remain calm on this tender guitar led track. Her signature whispery vocal style really takes centre stage here as she expresses her sadness over the demise of a relationship between two friends. She is down about it ending and at the same time wishes for both to be happy as she wishes them good luck. This one stays mellow on most part. Justin Vernon of Bon Iver provides the harmonises that are sparingly dotted through the track, thus you have to pay close attention or else you may not pick up on them. 

Free Now - This song is the actual closer to the album and it is a great note to end things on. Here the production lifts as the track progresses. Gracie reflects on a difficult breakup, her approach is pretty balanced as she acknowledges the struggles of her ex partner. She is aware that the relationship wasn’t healthy for either of them. Even though the relationship coming to an end has caused her pain, the freedom that comes with being single gives her a sense of relief. 'All I feel is free now' is a positive note providing the album with a hopeful close.

Close To You - Now though this track is the last one on the record, it serves more as a bonus track. The track had been lingering around for a moment and it kind of started to go viral close to the albums release. The demand from fans resulted in her releasing it officially and stated that though it doesn’t fit in the timeline the rest of the record represents, she’ll throw it at the end as a bonus. It is an upbeat track in which she sings about how she wants to be close to the person of interest and the strong desire she has for him. It is one of those hairbrush songs that will embed itself in your memory. Gracie said this serves as a pre-deluxe bonus track, so it seems that there is more to come.

Gracie Abrams delivers another stellar body of work and showcases growth. She is proving to be quite the promising young artist and one whose journey will surely be fascinating to follow. Her debut took a more monotone journey that seemed to remain in one place, however this one feels more diverse in its pacing in particular giving it more of a dynamic. She’s an artist that definitely likes to divulge in the more moodier or sadder realm. As she experiences these emotions with such intensity. It is a journey and one that does find closure on a freeing note. She exceeds expectations and outdoes her last effort. This one is one of 2024’s standout releases and also one that has drawn a lot of conversation. On top of that her exposure and fanbase have continued to grow, which the performance of the record is proof of. The only thing that lets the record down a little is the album artwork.

[goldenmusicmoments]

New Artists:

We have so many new artists out that are releasing great music and visuals to accompany them. They are giving us some standout performances and fashion. They are creating a lot of conversations, pulling in more and more people. However we are still stuck on the past and many seem to only find a new artist palatable if they remind them of an artist of the past. You constantly see across social media people hailing a new artists as ‘The next so and so’. Which is frustrating as they are their own artists and we should allow them to be just that. Of course they’ll draw inspiration from those that came before them, however that doesn’t take away from them being original artists.

We should focus on celebrating the new artists for them being them. Olivia Rodrigo has made quite the mark as a new artist, with her songwriting being the draw factor for fans that have come to love her. Tate McRae who keeps being compared to Britney Spears, and though the comparison is of course an honour. It prevents her from being seen for being herself. Tate’s a great overall performer and she continues to showcase her artistic growth. However what truly stands out about her is that she is an overall pop star. She’s well rounded, her performances in particular have drawn the most attention. As she puts her all in giving a performance and is very choreography focused due to her dance background. She is also delivering music videos that keep you coming back to them, she released two of the best visuals this year for her singles ‘It’s Ok, I’m Ok’ and ‘2 Hands’. Her music videos are ones to look forward to and she deserves her place in music. 

Sabrina Carpenter who though has been at it for a moment, has only just had her breakout moment this year. However she has proven to be an artist that is made for stardom and has all it takes to be one. Tyla another stellar young artist that broke out with her viral song ‘Water’. She is such an effortless star, she was made for the spotlight. She’s carried herself so well in all that she has done and the work she puts in is outstanding. Chappell Roan another new artist that has made quite the mark on the general public, after a live performance drew positive attention her debut album then ended up climbing the charts. She’s since had quite the year this past year. A unique artist who has so much character.

There are many new artists such as Griff, Holly Humberstone, Hazlett, Gracie Abrams, Flo, Victoria Monet, Alina Baraz, Kiana Ledé, Omar Apollo, Raye, Tinashe, Normani, Camila Cabello, Chloe, Halle Bailey, Mimi Webb, Megan Moroney, Ella Langley and Benson Boone to name a few. All of which are delivering great music that deserves to be heard. We should really support all of the up and coming artists, as our support will mean that they’ll in turn be able to keep pushing themselves to deliver. Every artist deserves a spot and it isn’t a competition. There is definitely room for all. We could talk about each and everyone, I just selected a few to briefly discuss. Each of the artists mentioned and even those that aren't, have something different to offer. You have so much to choose from depending on what you are feeling for in that moment.

I have been pretty busy so there are a few posts I have been meaning to do that haven’t yet been posted. I am on it and hopefully will 

[goldenmusicmoments]

The GRAMMYs 2025 Nominations:

The Grammy nominations were just revealed and like always there were a mixed bunch of choices. Some deserving, others unexpected and some that left you wondering how they made the cut. There were a few snubs that would have been stronger choices than the ones that ended up being picked. The recording academy do the something as always and you can tell that they consider much more than solely the quality of the music. Lets discuss the major categories and some of the other genre specific ones.

Record of the Year:

The Beatles - Now And Then.

Beyoncé - Texas Hold ‘Em.

Billie Eilish - Birds Of A Feather.

Chappell Roan - Good Luck, Babe!.

Charli XCX - 360.

Kendrick Lamar - Not Like Us.

Sabrina Carpenter - Expresso.

Taylor Swift Ft. Post Malone - Fortnight.

Six of the nominations are understandable as they were big moments in music. However The Beatles track ‘Now And Then’ isn’t one that you’d think of when you look over the releases during the consideration period. It managed to chart high after the first week of release, however the song then disappeared. Due to that it is an unexpected appearance in this category. The next one that you wouldn’t really consider as record of the year is Charli XCX’s single ‘360’. She did have a big year with her album Brat which become a huge pop culture movement. However that song isn’t one that again comes to mind when remembering the year. ‘Apple’ would have been the more appropriate choice here as it had virility through a TikTok trend making it memorable and having a greater reception beyond social media hype. 

The rest of the nominees in the category are all understandable picks as they were major moments in music. ‘Texas Hold ‘Em’ kickstarted Beyoncé’s dive into country music and gained momentum through TikTok trends eventually finding its way to the top of the charts. Billie Eilish had an interesting start to her new era, as she released ‘Lunch’ as the lead single with a visual and all which allowed for it to debut high. The general public then took charge and made it be known that ‘Birds Of A Feather’ was the song that stood out to them the most. Chappell Roan burst into stardom this year with the release of ‘Good Luck, Babe!’. A live performance of the song drew her attention and people then went out of their way to check out her music. The song was one that quite a few artists decided to cover. A deserving nominee for sure. Kendrick Lamar was a prominent part of pop culture this past year due to his beef with Drake. The dual between the two gave birth to ‘Not Like Us’ which ended up become more than just a moment. As the song became an anthem of sorts and that helped the song have longevity, rather than be a track that just served the purpose of making a momentary statement. Now no one could escape ‘Expresso’ and it surely cemented itself as 2024’s song of the summer. It also propelled Sabrina Carpenter to a new level of stardom, as it become her biggest hit. First to break the top ten on the Billboard Hot 100 and though it didn’t make it to the pinnacle position, it had greater memorability than a lot of the tracks that did hit the top spot this past year. Taylor Swift’s lead single ‘Fortnight’ which features Post Malone was a memorable release this year and it was a great song, so it comes as no surprise that it received a nomination here.

There are snubs that come to mind such as ‘We Can’t Be Friends (Wait For Your Love)’ by Ariana Grande, ‘A Bar Song (Tipsy)’ by Shaboozey, ‘Beautiful Things’ by Benson Boone, ‘Lose Control’ by Teddy Swims or even ‘Die With A Smile’ by Lady Gaga & Bruno Mars to name a few that would have been stronger choices when comparing to the likes of ‘Now And Then’ or ‘360’ in particular.

Now predicting a winner is tough as the recording academy do love to surprise everyone with who they select in the end. I feel that the strongest contenders for the win would be ‘Not Like Us’ or ‘Good Luck, Babe!’.

Album of the Year:

André 3000 - New Blue Sun.

Beyoncé - Cowboy Carter.

Billie Eilish - Hit Me Hard And Soft.

Chappell Roan - The Rise And Fall Of A Midwest Princess.

Charli XCX - Brat.

Jacob Collier - Djesse Vol. 4.

Sabrina Carpenter - Short N’ Sweet.

Taylor Swift - The Tortured Poets Department.

This was an interesting bunch of choices as most of the records that made the nominations list were predicted or listed by many music outlets to be chosen. New Blue Sun by André 3000 was one of the unexpected ones, as maybe the reception it received from critics was positive. However it didn’t generate much of a conversation amongst the general public, thus many are only now discovering it due to it receiving a nomination here. Another surprise was Djesse Vol. 4 by Jacob Collier, he is a greatly talented artist who is fully hands on in the creation of his own music and has produced for other known names as well. He also seems to have become a grammy favourite as they seem to find a way of throwing him a nomination. The album didn’t make much of a commercial mark and the critics seemed divided over it. Jacob needs to find a balance where his bold production choices work together seamlessly and come across as creative choices that enhance the record, rather than being in pursuit of showing off his talent. 

Short N’ Sweet by Sabrina Carpenter and Brat by Charli XCX were two very successful albums of the past year, the former made quite the commercial mark and the latter became a prominent moment in pop culture. However artistically the records aren’t really much more than solid pop records. As they don’t do anything revolutionary, even though many on social media (mostly Stan twitter and Charli herself) who seem to believe that Charli XCX is doing something beyond artistic comprehension. Some of her creative choices may seem fascinating, however they don’t make much of an impact outside of her fanbase. The Tortured Poets Department by Taylor Swift is easily one of the biggest album releases this year. Its commercial impact and the level of reaction it received beyond her fans whether good or bad showcased her scale of stardom. A lot of people ran to criticise it, however in the chase of scurrying for something to pick apart they didn’t bother to actually listen to the album. It actually is a great body of work that continues to highlight Taylor’s talent when it comes to songwriting. The album is sonically and thematically cohesive, though you may find that there are moments that feel familiar which most likely is down to her sticking to the same producers she has been working with for the past couple of albums, this album still manages to feel different. So it is an understandable choice here.

Billie Eilish’s new album Hit Me Hard And Soft was a standout release and a body of work that was executed really well. It also performed well commercially so it being nominated was no surprise. It is one of the stronger contenders on the list as it is one that has longevity to it and feels timeless rather than momentary. Billie proves that she is an artist that is in it for the long run and that she really loves making music. Cowboy Carter by Beyoncé was another one that many expected to show up here. It was a major moment in music as Beyoncé put together an album that was genre bending, though it was pushed as a country album it drew influences from other genres as well. She labeled it as her take on country music and not only that she managed to open the door for other black country artists through having them feature on the record. The album is a full on experience from start to finish with diversity that keeps you focused. Thus it is easily one of the most deserving records to be nominated for album of the year. Last but not least is Chappell Roan’s debut album The Rise And Fall Of A Midwest Princess that was released late last year. There was chatter when it came out, however that didn’t do much for the records reach. However after she gained attention early this year with a live performance of ‘Good Luck, Babe!’, the album finally made its chart appearance. It continued its ascend and managed to peak at number two on the Billboard 200 chart and the top ten worldwide. It was great to see a record have a journey like that, which highlighted that the listeners were actually drawn to it because of the music and nothing else. The album is quite the record and proves that she is an artist that knows herself and her sound. Now this wasn’t entirely an expected choice thus it showing up felt like a surprise still. 

There were albums that should have been on this nomination list and could have very easily replaced some of the ones that did make the cut. The main one being the stunning record that was Deeper Well by Kacey Musgraves. The album was one that many outlets had predicted as a strong contender. Eternal Sunshine by Ariana Grande and Submarine by The Marías were another two that should have been nominated here.

Djesse Vol. 4 and New Blue Sun though made it this far, do not deserve to win. Cowboy Carter deserves to take home the award. If not then The Rise And Fall Of A Midwest Princess would make for a worthy winner.

Song of the Year:

Beyoncé - Texas Hold ‘Em.

Billie Eilish - Birds Of A Feather.

Chappell Roan - Good Luck, Babe!.

Kendrick Lamar - Not Like Us.

Lady Gaga & Bruno Mars - Die With A Smile.

Sabrina Carpenter - Please Please Please.

Shaboozey - A Bar Song (Tipsy).

Taylor Swift Ft. Post Malone - Fortnight.

Here ‘A Bar Song (Tipsy)’ by Shaboozey and ‘Texas Hold ‘Em’ by Beyoncé are interesting choices for a category that is supposed to award songwriting. Though both are catchy and enjoyable tracks that were big hits, but they don’t offer much lyrically. The former would have fit better in the record of the year category. 

The rest are fair enough choices in this category. With ‘Not Like Us’ by Kendrick Lamar, ‘Good Luck, Babe!’ By Chappell Roan or ‘Fortnight’ by Taylor Swift Ft. Post Malone being the strongest choices to take home the award. 

Again there were snubs in this category and one of the main ones that spring to mind is ‘We Can’t Be Friends (Wait For Your Love)’ by Ariana Grande. ‘Lose Control’ by Teddy Swims, ‘Too Sweet’ by Hozier or even ‘Beautiful Things’ by Benson Boone could have made for better picks here. 

Best New Artist:

Benson Boone

Doechii

Chappell Roan

Khruangbin

Raye

Sabrina Carpenter

Shaboozey

Teddy Swims

Apart from Khruangbin, the rest of the nominees came as no surprise. Benson Boone who had first introduced himself to the world through auditioning for American Idol, who himself ended up withdrawing from the show. However he continued on with pursuing music. He had been releasing music since 2021 and none of it managed to make much impact. He then released ‘Beautiful Things’ at the start of this year and thanks to the power of a trend that took off featuring the song, it went on to become a big hit. That opened him up to a bigger audience and allowed his debut album that he released a couple of months later to have a big opening. So he is deserving of the nomination. 

Doechii has been around for a moment, she released her third mixtape this year and is yet to release a debut album. However this year she managed to create a lot of conversation around herself, which in turn resulted in her being asked by other artists to feature on their singles. So she is an understandable choice here as well. Chappell Roan’s spot here had been cemented and there was no doubt that she’d be nominated for the award. After releasing her debut album last year, she truly broke out this year after a live performance was well received by the general public. That led to her debut album finally charting on the charts and it managed to climb all the way into the top ten. The organic growth of the record was refreshing to witness and she’s been a breathe of fresh air in general. An artist that managed to make quite the impression through both her music and her raising her voice to fight for humanity. 

Raye’s journey as an artist has been inspiring and she has been at it for a moment now. Starting as a songwriter and she still is writing for artists, one of her most recent writing credits are on Beyoncé’s album Cowboy Carter. Though initially signed, the label was holding back the release of her debut album that she had been working on. When she revealed the news about the label holding her back, she received support from her fellow artists. She eventually parted ways with the label. About two years later she released her debut album as an independent artist in 2023. The album was preceded by her viral hit ‘Escapism’ and since then she’s continued to make news for her talent. Her live performances have made quite the impact resulting in more and more discovering her. So the past year has really been her most prominent year as an artist. She truly deserves the nomination and if she takes home the award it would be well deserved.

Sabrina Carpenter has been around for quite significant amount of time, she’s released a couple of albums over the years. However though her talent has always been spoken of by those who listened to her music, she wasn’t that widely known to the general public. She gained some buzz after she found herself to be the talking point when Olivia Rodrigo released her debut single ‘Driver’s License’. Even then she only achieved a moderate level of success with the album she released soon after. She then become an opener for The Eras Tour and that helped her find even more connection with the general public, her single ‘Feather’ started to gain momentum on the charts due to its controversial music video going viral. When she announced ‘Expresso’ it came as a surprise, however the song took off immediately. Since then she broke into a new realm of stardom. Short N’ Sweet then opened up with strong first week sales and on the Billboard 200 nabbed multiple weeks atop. So since the year has been her breakout moment she was expected to be a contender here. 

Shaboozey has Beyoncé to thank for introducing him to the world. Though he has been about for a moment, none of his releases prior to his feature on Cowboy Carter made any sort of impact. He really best utilised the attention the opportunity brought him and released a new single immediately after. The single was ‘A Bar Song (Tipsy)’ that reached the top spot on the Billboard Hot 100, it has since spent seventeen weeks atop the chart. Then he followed with his third album which opened up in the top ten on the Billboard 200. He has definitely had a standout year so far and so his appearance here is no surprise. Teddy Swims really took off with ‘Loose Control’ this year and the song achieving huge success made him a known name. He released his debut album late last year and had been releasing music for a moment already. Most of which were covers that had gone viral, which is how he built a fanbase. He is talented as a vocalist and his ability to be both a powerhouse and emotive in his delivery is moving. So him being nominated is deserved.

Now Khruangbin were the ones that came as a surprise. It was also the first time I had heard of them, so I looked them up and found out that they have been around since 2010. They’ve released five albums so far, achieving a moderate level of success. However they still haven’t had a breakthrough moment, neither did the album they released this year make much noise. So there nomination is rather questionable as to what exactly put them in contention this time around. I did listen to their latest album and they did surprise me, it wasn’t what I expected. It was however a fascinating body of music that features very little vocal moments. Even then they don’t necessarily seem deserving of this nomination. 

Someone who definitely was snubbed is Tyla, after the success of her single ‘Water’ in 2023, she then released her debut album this year. Which has then created so much buzz around her and has propelled her into every space. So she would have been a great choice. Megan Moroney is someone else who comes to mind that would have made for solid pick.

Producer of the Year (Non-Classical):

Alissia.

Dernst “D’Mile” Emile II.

Ian Fitchuk.

Mustard.

Dan Nigro.

This is quite the mix of choices. Alissia is the only female nominee so props to her for getting the recognition, however her production credits this past year didn’t make much noise. D’Mile and Mustard, had a few big production credits. The former produced ‘Die With A Smile’ and the latter produced ‘Not Like Us’. Beyond those two they’ve had production credit on a handful of releases from known names this year, however those records in particular don’t standout when comparing to the next two producers nominated.

Ian Fitchuk and Dan Nigro are the competing two in this category. As they have produced some of this past year’s most artistic releases. The former produced Kacey Musgraves’s album Deeper Well and Maggie Rogers’s latest Don’t Forget Me. Whilst also producing songs for Beyoncé & Leon Bridges to name a few. Dan Nigro’s prominent production credits are with Olivia Rodrigo and Chappell Roan, as he worked on both their albums and some of their additional single releases. 

So Ian or Dan are the strongest choices here, though Ian Fitchuk would be the ideal pick. In terms of snubs Jack Antonoff not being nominated was a surprise to many. However him not making the cut this time around isn’t a big deal.

Songwriter of the Year (Non-Classical):

Jessi Alexander.

Amy Allen.

Édgar Barrera.

Jessie Jo Dillon.

Raye.

This one is quite the flip on the producer of the year list as here we have four female nominees and only one male nominee. Édgar Barrera the only male in this category has songwriting credits predominantly in Latin music, so it is great to see the academy recognise beyond a singular language. The selection here is solid. 

Jessi Alexander and Jessie Jo Dillon have both mainly had songwriting credits on quite a handful of major country releases this past year. Releases from the likes of Megan Moroney, Morgan Wallen, Keith Urban, Post Malone, Kelsea Ballerini & Luke Combs to name a few. So they definitely have had big moments as songwriters during the consideration period and standout ones at that. So if either one took home the award they’d be great choices. 

Amy Allen is one of pops most notable songwriters and from the recent releases she’s been a writer for Sabrina Carpenter, Tate McRea, Olivia Rodrigo and Justin Timberlake. So she could end up taking home the award for working on some of the biggest hits of 2024. Raye who’s had a big year due to her own music and artistry, has also had some known writing credits during this past consideration period. She started out as a songwriter initially, however with the desire to become an artist herself. Her biggest songwriting credit has to be on Beyoncé’s album Cowboy Carter. Though talented she wouldn’t be the front runner here. 

Best Pop Solo Performance:

Beyoncé - Bodyguard.

Sabrina Carpenter - Expresso.

Charli XCX - Apple.

Billie Eilish - Birds Of A Feather.

Chappell Roan - Good Luck, Babe!.

These are strong choices, however Ariana Grande should have been nominated with ‘We Can’t Be Friends (Wait For Your Love)’ in the place of ‘Apple’ by Charli XCX. As that was one of the years most standout pop performances hands down. 

Billie Eilish with ‘Birds Of A Feather’ and Chappell Roan with ‘Good Luck, Babe!’, are definitely the strongest contenders. Either one taking home the award would be deserved, though the latter is the likely winner.

Best Pop Duo/Group Performance:

Gracie Abrams Ft. Taylor Swift - Us.

Beyoncé Ft. Post Malone - Levii’s Jean.

Charli XCX & Billie Eilish - Guess.

Ariana Grande, Brandy & Monica - The Boy Is Mine.

Lady Gaga & Bruno Mars - Die With A Smile.

The choices here are rather interesting. All but ‘Die With A Smile’ were surprising picks. ‘Levii’s Jean’ and ‘The Boy Is Mine’ in particular throw you off. They wouldn’t spring to mind if you were picking for this category. However we aren’t spoilt for choice with picks that could have made for great nominees.

Lady Gaga and Bruno Mars will surely take home the award with ‘Die With A Smile’. However ‘Us’ by Gracie Abrams featuring Taylor Swift is actually a great pick here as it is a beautiful track. Personally this would be the track I’d award the win to.

Taylor Swift’s ‘Fortnight’ which features Post Malone could have been a given pick here, however since the two appear as features the academy may have been hesitant for a double feature. Another pop track that springs to mind and would have made for a great nominee is ‘New Woman’ by LISA featuring Rosalía. 

Best Pop Vocal Album:

Sabrina Carpenter - Short N’ Sweet.

Billie Eilish - Hit Me Hard And Soft.

Ariana Grande - Eternal Sunshine.

Chappell Roan - The Rise And Fall Of A Midwest Princess.

Taylor Swift - The Tortured Poets Department.

All five come as no surprise. Great choices for sure and finally Eternal Sunshine by Ariana Grande is recognised. Billie Eilish & Ariana Grande’s albums could both make for worthy winners. However The Rise And Fall Of A Midwest Princess is surely the most deserving one to take home the award. As it sets itself apart from the rest of the nominees. They could very well surprise everyone and give the award to Short N’ Sweet.

Best Country Solo Performance:

Beyoncé - 16 Carriages.

Jelly Roll - I Am Not Okay.

Kacey Musgraves - The Architect.

Shaboozey - A Bar Song (Tipsy).

Chris Stapleton - It Takes A Woman.

All five are actually pretty solid choices for nominees in this category. ‘A Bar Song (Tipsy)’ is definitely one of the biggest moments in music this year as it still sits atop the charts. It could very well be the one that wins. However Beyoncé, Kacey Musgraves, Jelly Roll and Chris Stapleton give stronger performances on the songs they are nominated for. 

Kacey Musgraves’s track ‘The Architect’ and Chris Stapleton’s ‘It Takes A Woman’ are the two most deserving ones to take home the award. As they really draw you in vocally and make an emotional impact on you. 

Best Country Song:

Kacey Musgraves - The Architect.

Shaboozey - A Bar Song (Tipsy).

Jelly Roll - I Am Not Okay.

Post Malone Ft. Morgan Wallen - I Had Some Help.

Beyoncé - Texas Hold ‘Em.

An interesting bunch of choices, however ‘A Bar Song (Tipsy)’, ‘I Had Some Help’ & ‘Texas Hold ‘Em’ seem to have made the cut based on the commercial success they received. So if we look at it on that basis then yes they’d be the best picks here. 

However when looking at the quality or artistic nature of a song, and how it connects with or moves the listener. ‘The Architect’ or ‘I Am Not Okay’ are the top two contenders. With the former being the one that should win here.

‘Cowboys Cry Too’ by Kelsea Ballerini and Noah Kahan would have made for a great pick here.

Best Country Duo/Group Performance:

Kelsea Ballerini & Noah Kahan - Cowboys Cry Too.

Beyoncé & Miley Cyrus - II Most Wanted.

Brothers Osborne - Break Mine.

Dan + Shay - Bigger House.

Post Malone Ft. Morgan Wallen - I Had Some Help.

‘Cowboys Cry Too’ and ‘II Most Wanted’ are the top two picks here. Either one taking home the award would be worthwhile. Now Brothers Osborne and Dan + Shay who seem to appear often in this category are decent choices, however neither track truly stands out. The weakest nomination here has to be ‘I Had Some Help’, a catchy track that managed to become a hit is all that it is. However when considering it here it doesn’t stand its ground.

A snub here that should have made the cut and could definitely have taken the last picks place is ‘You Look Like You Love Me’ by Ella Langley featuring Riley Green.

Best Country Album:

Beyoncé - Cowboy Carter.

Post Malone - F-1 Trillion.

Kacey Musgraves - Deeper Well.

Chris Stapleton - Higher.

Lainey Wilson - Whirlwind. 

All apart from Post Malone’s album are great picks here and do deserve the nomination. Kacey Musgraves does deserve the win as Deeper Well is a stunning body of work. 

In terms of albums that didn’t make the cut, however would have been more deserving than F-1 Trillion, are Megan Moroney’s sophomore album Am I Okay, Ella Langley’s debut Hungover, Brittney Spencer’s debut My Stupid Life or even Carly Pearce’s latest Hummingbird.

Amongst other categories where I won’t take much of a dive into, however want to briefly mention. Starting with Best Dance Pop Recording, ‘Make You Mine’ by Madison Beer and ‘Got Me Started’ by Troye Sivan are great picks. Troye’s album Something To Give Each Other should have gotten a lot more appreciation from the academy and the general public. 

Clairo getting her first grammy nomination for Best Alternative Music Album with her latest release Charm is well earned. Both her debut and sophomore should have received nominations. With the latter being snubbed for album of the year in the 2022 grammy nominations. 

SZA deserves to take home both Best R&B Performance and Best R&B Song with ‘Saturn’. That is definitely one of the nominations the academy got right. However there are some other solid nominees such as Muni Long. 

Doja Cat was snubbed as ‘Agora Hills’ should have had a guaranteed spot in the Best Melodic Rap Performance category as it easily was the better pick from the ones that made the cut. 

Congratulations are due to Charley Crockett and Waxahatchee both receive their first ever grammy nominations. Their albums $10 Cowboy and Tigers Blood are nominated for Best Americana Album.

Kali Uchis receives a nomination with her latest album Orquídeas for Best Latin Pop Album, the album is a solid body of work that earns its place in the category. When looking at the others nominated in the field, she should be given the award.

It is great to see Arooj Aftab make an appearance in the Best Global Music Performance category, she’s become a favourite and deservingly so. Her music style is beautiful and one that you feel fully immersed in. Even if you are unable to understand the language it still manages to move you, leaving an emotional impact on you.

The Best Music Video nominees are a bit of a mess. ‘Tailor Swif’ and ‘Houdini’ don’t come to mind when you think of the word best whilst looking through all the visuals released over the consideration period. ‘We Can’t Be Friends (Wait For Your Love)’ is again the one that immediately springs to mind that should have made this category, it should have been a given. There most definitely are other choices that could have made the list as well. Out of the ones nominated ‘Fortnight’ seems to be the most likely winner.

We will have to wait till February 2, 2025 to see who takes home the trophies. However who do you think deserved the nominations, which ones weren’t worthy and who was snubbed. Please drop your thoughts in the comments.

[goldenmusicmoments]

Kacey Musgraves Takes A Deeper Dive Into The Well:

Kacey Musrgaves surprised us all with the announcement of a deluxe edition of her new album Deeper Well that she dropped earlier on in the year. The album as it was, was a beautiful body of work. So it was going to be intriguing to see how the bonus tracks would fit. After hearing the deluxe, she keeps things in line with the standard edition. It feels like an extension and on top of that she was generous enough to give us seven completely new tracks. Let’s do as Kacey says and take a deeper dive into this well.

Ruthless - The first track on the deluxe revolves around her devotion to the person of interest, she says that she’ll be ruthless if anyone were to try and cause them harm. What sounds like an electric guitar gives the track an intense edge, however it fades as the song progresses into this more mellow production. She’s overprotective over those she loves and that highlights the extent of her love as well. The production then builds to bring the track to a close on a more grander note. A stellar start to the deluxe tracks, that gets you excited for the journey she’s about to take you on.

Little Sister - Now this heartwarming track that takes a journey through the bond she shares with her little sister follows. It has a sense of longing as she takes a look through her relationship with her sister. She acknowledges all the bumps in the road and how she may have not been the ideal sister at times. However regardless of those moments where they butted heads, she loves her little sister. The piano accompanies her vocal and it stays in the back, allowing for her to stay at the forefront. A sombre track in which her vocal delivery really lets you know her yarning for the connection she has with her sister.

Flower Child - This one is a light hearted track with a groovy edge to it due to the production choices made here. A track that promotes living life in the way you truly want to. She seems to be singing to someone else, however it could also be her speaking to herself. She’s letting them know that things will workout regardless of how difficulty life maybe right now. That they should keep focus on what they are doing. She also gives them assurance that they are fine the way that they are.

Superbloom (Ft. Leon Bridges) - The first of the two collaborations and Leon Bridges was a choice that stood out when the tracks were revealed. This one is a cosy guitar led moment that plays to the sentiment of having the comfort of knowing that regardless of the hardships either one is facing they will be there for each other. Their voices work well together, Leon really mellows his tone to match Kacey’s signature tender tone. It is a lively moment that you find yourself moving to.

Perfection (Ft. Tiny Habits) - This is the second collaboration on the deluxe, Kacey had posted herself at one of their shows where they performed a cover of one of the tracks from Deeper Well. They also posted a clip of them singing with Kacey backstage. It seems that, that was where this collaboration came into fruition. Here they don’t have a verse to themselves, however they instead provide harmonies. This gentle track speaks on the pressure to be perfect, however she has no desire to be perfect. She’s self-aware and knows that she’s got shortcomings. She’s content as long as she knows that this person will be there to offer her love and protection. The production remains tame throughout, again she really wants focus to remain on the vocal and lyrical journey.

Arm’s Length - Here on this tender guitar led track Kacey sings about a relationship that seems very one side. She loves him with all her heart, yet he seems to not give her anything in return. She’s trying to hold on, whilst he’s trying to let go. She’s hurt over the lack of reciprocation and it shows through her vocal delivery. In the bridge she acknowledges that she should have known that he didn’t have it in him to stay for the long run. This is a highlight not only because it is a heartfelt track, however her vocal performance also helps it stand out. 

Irish Goodbye - A sombre end to the deluxe which feels extremely fitting particular through the journey the lyrics take you on. The guitar carries through into this track and the delicate strokes give you this feeling of flowing water. On this track the relationship is no more as the person of interest has left without any sort of warning or goodbye, which plays to the meaning of the songs title. She’s left feeling betrayed, as she says that she could have forgiven him for his faults, however she’ll never be able to forgive him for leaving in this manner. She hopes that one day he’ll realise what he lost when he left. 

The seven tracks are a great continuity to this era and though it leaves things on a rather sad note, it does give closure. The album still stands at the top as one of 2024’s best releases so far as Kacey Musgraves has such a talent for putting forth her emotions and the journey she’s on. The tender nature to her vocal paired with the acoustic production choices allow you to feel fully immersed in its magic.

[goldenmusicmoments]

It Is Time For An Intermission:

Maren Morris drops an extended play as a layover to her next album. She uses this short record to address things that she felt she needed to get off her chest. She’s had some significant life events take place and she’s been on a journey of figuring life out now that she is single again. So lets take a dive into this release.

The extended play opens with the first release ‘Cut!’ which features Julia Michaels. This pop track makes it clear that Maren has distanced herself from country music, and now is venturing in a new direction. It is a catchy track in which she sings about putting on a front when she is amongst others, however once she is on her own its a different story. This entirety of seeming your okay as you don’t want anyone to know how you really feel, however once in seclusion you let go allowing yourself to feel what you actually feel. The verses feature a prodding beat, however it lifts for the chorus and the outro. Both their voices work great together and the outro finds a way to utilise the title of the extended play.

We move onto ‘I Hope I Never Fall In Love’ which switches up the mood into this more emotive and dreamy moment. Maren doesn’t seem to want to fall in love again, it seems that her previous relationship has put her off. She closes that door with certainty that she’ll not allow herself to fall for someone in that way ever again. There is a throwback vibe to the track due to the production choices. Its percussion led and it would be great choice for a slow dance moment. Her soaring background vocals during the final chorus are beautiful. 

Maren is carefree on ‘Push Me Over’ where she seems to be wanting a situationship, rather than something serious. She wants to live in the moment rather than thinking too much of the situation. Its a playful track that will have you nodding your head to its throwback beat. The production lifts for the bridge and her soaring vocals take over for the final chorus. It is a well crafted song and one that feels infectious in nature. A track that could definitely accompany a workout session. 

‘Because, Of Course’ follows and there is an urgency to the beat here. Here she expresses the extent of her love and she lets it be known that she’ll be there for this person in whatever way they may need. Those one feels grand and powerful, which in turn gives it, its uplifting nature. The chorus immediately draws you in and then the vocals over the final chorus are magnificent, highlighting the power she holds vocally. You as your find yourself fully lost in its vastness. 

Now ‘This Is How A Woman Leaves’ is a perfect note to end the record on. It feels so empowering as she lets it be known that she’s not someone who’s dependent on anyone else. She can do all that she needs herself. This feels vulnerable and powerful at the same time, it has a feeling of intimacy just before it lifts into the grandness of the bridge that fills up the space around you. You feel as though you are being lifted by those soaring vocals and then she brings it back down to end on these lyrics that pack quite the punch. 

Overall this extended play is a great body of work that gets you even more excited for her next full length project. She sings about the demise of her marriage, how its impacted her views in relation to love and how she’s managing on her own. There is vulnerability, power and raw emotions packed into this five track body of work. It is a must listen from amongst this years releases. Maren deserves every ounce of recognition as she is a once in a lifetime talent. 

[goldenmusicmoments]

Taylor Swift - The Tortured Poets Department (Part Two):

So finally this is ready to go. It has taken me a a moment as there were a lot of tracks and then life being busy. Taylor Swift gave us a lot to dissect and it has been quite the journey. This second half is a lot more sombre in tone when comparing to the first. So lets get into it the best we can.

The Black Dog - Here on this sombre moment Taylor is singing about how she feels after the demise of this relationship. She sings about how though it is over, there are still lingering feelings. She wonders whether he is reminded of her when he walks into places the two once visited together. Here she uses a pub in London named The Black Dog, which must have been a location the two visited together quite often. There is an urgency in the throbbing chorus as she wonders whether he still misses her. She ends the song on ‘Cause old habits die screaming’ where it seems that she may have been crying whilst recording the song as you hear her voice shiver, pointing to the hardship of letting go. 

imgonnagetyouback - She picks up the pace on this moody synth driven track. As she sings about her being unsure as to whether she wants to rekindle things with a past lover or take revenge. You’ll find yourself moving your head to the beat. The bridge is definitely a highlight as it hosts a hint of intensity. Her vocal delivery on this track gives this feeling of certainty, she knows her ability and that she could very easily get him back if she wanted. This one fills the space around you and the infectious chorus will have you singing along to it immediately. The way she sings ‘mine’ gives the track a dreamy moment.

The Albatross - We see a shift once again into a more tender and mellow moment now as the instrumentation gives the track this floating feeling. This one really does remind you of Folklore or Evermore. Its got a sadness to it as she seems to wonder whether she was the one that destroyed the relationship, referring to herself as the albatross which metaphorically can be seen as such. This one leaves you feeling contemplative as you seem to find yourself wanting to sit by a window and gaze out into the open. A beautiful moment 

Chloe or Sam or Sophie or Marcus - This gentle piano driven track is one that really surprises you. The title was enough to ignite intrigue as many wondered who the people named were. Here she observes her partner betraying her, she still wants to make things work, whilst they seem to be focused on substance use. She feels abandoned as she longs for honesty and closure. She’s uncertain as to whether she’ll recover from the pain caused by this unbalanced relationship. There is a cosy nature to this track that makes you feel as though you are sat by a lit fireplace. 

How Did It End? - She sticks with the piano here and the track opens with these dreamy airy vocalisations. Here she sings about peoples pursuit for details of how a relationship fell apart rather than caring for how the people involved feel. It points to the media and the public in particular, as they are quick to tear apart the demise of a relationship with little to no concern for the wellbeing of the two involved. This sombre moment is sure to have you feeling a little teary. 

So High School - This one hosts this soft rock vibe as she sings about being infatuated with the person of interest. This one seems to be about her current relationship as it references moments from Travis Kelce’s interviews where she was mentioned. It is an adorable track where she throws it back to high school, as she sings about how the relationship takes her back to that time. It definitely lifts the mood from that set by the preceding three tracks. It also features a lyrical moment that created a lot of conversation, where people were using it in attempt to diminish Taylor Swift’s songwriting talent. However it ended up highlighting their in ability to grasp much. That they have such a linear approach to dissecting lyrics.

I Hate It Here - On this sombre track she wants to escape to a different time or place, as she seems discontent with where she is. However by the end she says that it probably wouldn’t be any different elsewhere. Pointing to the entirety of how often we find ourselves fantasising about life being different, yet what we long for it to be may just end up not being as great as we imagine. This one hosts this feeling of longing as you feel as though you are being taken on a journey. The outro drags out for a bit before the track comes to a close. This one also features a lyrical moment that drew a lot of attention, with people going out of their way to make it into something it clearly wasn’t. 

thanK you aIMee - This was a track that had many intrigued particularly due to the stylisation of the title. People were quick to figure out who it was about due to how obvious the title made it. Which in itself was surprising. It seems as though there may have been some lingering feelings that she wanted to get of her chest, she’s also looking over all that transpired and acknowledges that she’d not be where she is now if it weren’t for that occurrence. It is a guitar led track that holds your focus as you try and pick up on all that she shares through the lyrics. It highlights that you should use the bad things people do to you as fuel to drive you to excel in life.

I Look In People’s Windows - Here she’s looking back on the relationship that is now over. She ponders on the thought of the two having a chance encounter where their eyes meet once again. It in a way makes you think that she misses him and that maybe a part of her might want for a reunion. It’s a dreamy track due to the instrumentation and the moments of airy vocalisation. A short song about the lingering feelings after a relationship comes to an end.

The Prophecy - On this track filled with longing she thinks she might be cursed and that, that maybe why she’s not been proposed to yet. She was in a long relationship and she felt that this may have been the moment marriage finally become an option. She just wants her moment to finally come, she doesn’t care for the materialistic success as much as she desires for company. The production stays at the back allowing for her vocal to remain at the front, making the lyrics be the tracks focal point. A tender moment that feels rather sad, and it may even have you longing for that one thing you so desperately want.

Cassandra - Taylor has a resentful tone on this track as she uses the story of Cassandra who was the Princess of Troy. She speaks on the entirety of people not believing her when she gave warning. Instead they decide to take aim at her for speaking out, when the truth is revealed and it points to her being correct. There is silence rather than acknowledging that she was right and that they should have taken her seriously. It is piano driven and it draws from a similar sound to that explored on her sister records. 

Peter - The piano carries through into this track and here she seems reflective in tone and lyrical journey. Here she looks back at the time spent with a particular person and the promises they made to each other. It becomes clear that those promises weren’t kept and with time she realises the two are on different paths now. The two have now lost connection, as at once they seemed to believe that they’d be in each others lives forever. She closes the chapter and decides it is time to move on. She doesn’t pin all the blame on him, instead she acknowledges her shortcomings as well. 

The Bolter - Now the guitar takes centre stage here. This song seems to not have a completely clear meaning, however it seems like the person she’s singing about has been on quite the journey. On most part it focuses on her exploring romantic relationships that seem to feel exhilarating, however they just don’t work out in the end. The woman seems to run as soon as things start to fall apart. It point to the person of interest not wanting to work on fixing the issues, instead they run away from them. It is a continuous cycle for the person of topic.

Robin - On this track the piano is back and we are staying at a sombre pace it seems for the last run of tracks closing the double album out. This one is a beautiful moment that you find yourself lost in. It has you feeling contemplative. This in a way reminds you of her track ‘Never Grow Up’. As she sings about childhood and all that it entails. She wants the child to not lose their wild and carefree nature, however she also lets it be known that guidance is also required. She seems to be rooting for the kid and cheering them on. This one could very well be part of a film soundtrack or people may find themselves thinking of their own journey through childhood or the journey their children are now taking.

The Manuscript - The closing track on the anthology is one that feels like the closing chapter of a book or the last scene in a film. As she sings about the person reaching the end of the journey. She finds herself revisiting it, however she acknowledges that the story isn’t hers anymore. It plays to the entirety of storytelling which for her is through her songwriting. That whilst she is in the process of writing it feels like it only belongs to her, then when it is released it now belongs to the world. A perfect piano led ending to the record.

What a journey this double album has been from start to finish. It is a great album and the more you sit with it the more that becomes apparent. People on most part were quick to want to pick it apart and criticise it in whatever way they could find possible. In doing so they failed to see it for the great body of work that it is. Now that quite some time has passed people have come around to appreciate it more. The album though cohesive still manages to retain a sense of dynamic as she places moments that have more of a pace to them. Taylor Swift continues to surprise everyone with her ability to keep creating. She’s someone who’s always been dedicated to her craft and you can tell that she is passionate about music. 

[goldenmusicmoments]

Taylor Swift - The Tortured Poets Department (Part 1):

So finally this post is done. With how busy life has been it can be tricky doing these, however I do find it fun to go through a record and break it down. This being a double album made it feel really daunting and so doing it in two parts made the most sense. Taylor Swift announced at The Grammy’s that she was to release a new studio album and was met with quite the reaction. Now we will get into the standard version of The Tortured Poets Department.

Fortnight (Ft. Post Malone) - The album opens up with this rather moody moment with its prodding beat. The production stays fairly consistent for the most part of the song and then there is a slight lift for the bridge. The lyrical content seems to be a little dramatic with her expressing her desires to kill. On most part it revolves around wondering what could have been if things worked out in the way you hoped they would have. When Post Malone’s harmonies come in you presume it’ll be how he is utilised on the track. However when the bridge comes in he is given a part of his own and then Taylor closes the song out with a repetition of his part, with a slight alteration to the lyrics. The track closes on a dreamy note leaving you in a state of longing. A tender start to this journey that doesn’t give too much away just yet.

The Tortured Poets Department - The pace lifts on this title track, where she’s reminding him of her significance. Letting him know, that no one’s going to love him like her. The lyric giving Charlie Puth a shoutout caused quite the stir, however it’s randomness is meant to mimic how random a point of conversation at times can be. The kick drum tempts you to tap your feet to it. The specificity in the writing makes you feel as though you are part of the conversation. It fills the space around you making you feel encapsulated in its somber yet shimmery atmosphere. For the first part of the last chorus you get a question and answer type moment. This one has a bit of a throwback vibe due to its production.

My Boy Only Breaks His Favourite Toys - You are immediately drawn in with the first line as it intrigues you into wanting to know what this repeat occurrence is. This through its sound seeks from what she explored in Midnights. The bridge feels exhilarating as her vocal delivery picks up speed. She’s been captured by this person of interest unexpectedly. However she feels that he’s going to end up hurting her as she’s his favourite, playing to the title. As she toys around the lure of a toy and how when it is new, you find yourself completely engrossed in it. However with time it deteriorates and you lose interest. A metaphor pointing to the height of desire at the start of a relationship and how that slowly diminishes. For the bridge the sense of emotion heightens. This one is one you’ll definitely find yourself singing along to the chorus instantly.

Down Bad - The beat is rather pretty as the track opens, however it shifts into one with a sense of hypnotic urgency. She’s captivated by someone who’s maybe not necessarily into her in the same way. She’s down bad for him and yet he seems to not be in it to the same extent. She’s trying to be nonchalant. By the end she seems mad at him for being the reason as to why the two couldn’t be together. The detail in the production is intriguing and really pulls your focus, as it compliments the extraterrestrial nature of the lyrics. It is a gentle moment that has a moody edge due to her delivery of the lyrics.

So Long, London - She’s angelic in the vocal delivery at the beginning where the repetition of the title sounds like wedding bells ringing. The beat shifts into throbbing that makes you feel on edge. A somber moment where she expresses how she feels he’s ended up wasting her time. She states she was left wondering if he actually loved her, as she was willing to marry him if he’d asked. However she doesn’t necessarily pin blame on him as she acknowledges that he could have been struggling and that in turn impacted how he was in the relationship. Her rage is depicted through her vocal delivery of the first couple of lines of the bridge. A rather sad goodbye to a relationship, but also to the place where the two formed prominent memories. The song really leaves you with chills and draws your focus as you try following the journey she’s taking you on. There is a resentful feeling to this track that leaves you as a listener feeling the frustration she must have felt whilst in this relationship.

But Daddy I Love Him - She speaks to the haters and fans alike here, letting them know that what they have to say plays no role in influencing how she feels. She’s aware that they pose as though they care, when in actuality they don’t. There is humour in the songwriting as she jokingly tells her father that she’s pregnant, only to see his reaction. Which in turn generated quite the reaction from those that heard the track. The production during the verses is pulled back, however lifts once the chorus comes in. The frantic production of the beat in the chorus emphasises the exhilarating feeling you have when you are certain of how you feel. You feel as though she’s smiling as she sings the lyrics and that elicits this sense of joy in what she is putting forth.

Fresh Out The Slammer - This track hosts a western feel and that snare drum keeps you focused. She points to how she felt caged in the relationship and once it was over she was free again. She eventually moves on, however that ends up being a short-lived moment. The chorus hosts a sensual touch due to her vocal delivery. The bridge in a way pays a nod to her track ‘Bejeweled’ in the way that it sounds. However there also is a lyrical moment that draws from that song which may not be intentional or actually have a link. Then there is a slight shift in the bridge which takes you by surprise. There is a brief pause and then the track comes back in as she sings a line and then the beat closes out the track.

Florida!!! (Ft. Florence + The Machine) - On this one the verses host this sinister edge and then the chorus booms with the hard hitting drums. Florence is given the second verse as she works her magic adding to the eeriness you already feel through the production and lyrics. The bridge features a back and forth between the two. As she sings about escaping to Florida whenever things go south. This is one of the more grander moments that feel gigantic through the production choices. Florence + The Machine definitely are a surprising choice for a collaboration, however their voices work well together. The tonal differences provide this track with more of a dynamic.

Guilty As Sin? - Taylor takes us down this dreamy road where she finds herself completely infatuated by this person. You find yourself captivated by the track and its one of those you’d want on repeat. A catchy moment that hooks itself in your mind, as you are instantly singing along. The bridge features her singing with a hint of drama as she uses religious imagery to show her devotion to the person of interest. Everything comes to a hold and then the chorus comes crashing in. With her ending it on a vulnerable note as she asks whether she’s allowed to cry. The percussion is the key instrument that carries the production here. A song that many overlooked upon release, however with time it has ended up become a favourite on the album.

Who’s Afraid Of Little Old Me? - Here you get a sense of frustration as she feels like she’s being underestimated and that people think that she is an easy target. She’s letting them know that they should be afraid of her. Though on most part there is this pursuit of assertiveness in her letting it be known that she’s not one to be messed with, the end finds a sense of vulnerability peak through the cracks. The bridge heightens in intensity as she expresses her desire to let her feelings out, however she keeps her emotions restrained. The production has a dramatic touch which gives it a cinematic touch building as the track progresses. There is a sense of sarcasm in the calmer moment of the bridge through how she puts forth those lyrics. A powerful track that finds resonance.

I Can Fix Him (No I Really Can) - Taylor’s certain that she can fix him, even though people around her are warning her to stay away from him and she herself seems to be aware that he’s a dangerous man. Who this is about is pretty obvious as he was deemed problematic by the general public and even she was aware of his past actions. However she felt she could potentially change him. By the end she comes to the inevitable realisation that maybe she can’t alter who he is. This one brings back that western vibe. During most part of this track she has a level of certainty, by the end it wavers when realisation hits. 

LOML - This piano driven moment immediately shifts the mood and draws you into a pool of emotions. It feels heartbreaking not only through the lyrical content, however also her vocal delivery. You can tell she’s been through quite the emotional journey during this relationship that spanned over a good couple of years. When you dedicate so much time to one person and it comes to an end, you are left with a lot to deal with. The way that the piano is featured on the track plays to the journey being depicted. As on most part the keys being played are consistent, they only change when she sings about how the painful part has now come to an end. The relationship didn’t grow and stayed stagnant, she clearly hoped for it to become something more. One of the most saddest tracks of her career as she explores the themes of wasted time and the difficulty of letting go even when you are well aware that the relationship isn’t going anywhere. That the highs in the grand scheme of things end up seeming momentary. This one has you fully immersed in its dreamy sadness. The duality of the title is fascinating as it plays both ways as love of my life and then by the end the relationship felt like the loss of her life.

I Can Do It With A Broken Heart - She picks up the pace in this track that has a hint of urgency to it through the throbbing production. The chorus shifts into this glittery vibe and she’s letting it be known that though she’s going through it with feeling down about the break up, she ends up putting up a front that she’s happy in order to get through the things she has to do. It plays to how life keeps moving regardless of how you feel and you just have to get on with things. The choice of production to be lively, verse the meaning of the lyrics is an interesting contrast and it plays to what the lyrics are depicting really well. The bridge has a lot going on production wise giving it a chaotic touch. 

The Smallest Man Who Ever Lived - The piano returns and the track gradually builds in production. She opens up with a sigh as here she seems resentful throwing all these accusations towards the person of interest who’s clearly disappointed her. She really tells him that he isn’t all that he thinks he is and that though she may forget, she will not be so quick to forgive. The lyric ‘You are what you did’ is an interesting moment here, it reminds you of her track ‘Innocent’ from her album Speak Now, where she had an opposing take on that line. The production reminds you of her sister records, as it remains tender throughout. It lifts for the bridge in both production and her vocal delivery, where she gets even more intense. You feel caught up in this track as you pay attention to the lyrical content. 

The Alchemy - Now we are changing up the mood once again with this dreamy feeling moment that captivates you through its sensual nature. Judging by the football references it is definitely about Travis Kelce and she’s letting it be known that she’s completely taken by him. The lift in the chorus makes you feel as though you are being raised up by the beat. She’s risen from the period of sadness as she finds connection with someone knew and it feels thrilling to her. Every aspect of the track lets you feel her level of infatuation.

Clara Bow - The last track on the standard version of the album and this is a rather sombre moment. Here she sings about the constant comparing she’s experienced throughout her career. This entirety of how people keep saying that she reminds them of an artist that came before. Not only that but the expectations that you have to be this dazzling being that draws an audience into wanting to worshiping you. At the end she switches things and now people are telling the new artists that they look like her. It is an interesting note to bring the standard edition to a close, as it feels like a chapter closing in one way for her, whilst a new one begins for someone else. It draws from the person who’s name is the title of the track, as she makes correlations between Clara’s experiences and her own. 

This first part is a solid album and one that continues to highlight Taylor Swift’s talent for songwriting. It is personal as it journals her recent experiences particular in relation to her love life. She keeps things on the lighter side when it comes to production choices on most part. Though she does draw from sounds that she has explored before, it still feels fresh and new. She clearly still has so much to offer as an artist and she doesn’t intend on stopping anytime soon. Music has always been her passion and thus she is constantly creating. Stick around for the second half of the album.

[goldenmusicmoments]

Billie Eilish's Hit Me Hard And Soft Does Exactly That:

Billie Eilish drops her third studio album and this time she didn’t give us a taste of what to expected prior to its release. The album is an experience from start to finish, so lets take a look into its chaos.

Skinny - She starts on a gentle note with her signature airy vocals accompanied by the piano. There is something sombre and dreamy about this track. Which is down to both her vocal delivery and the production. Here she explores the aspects of falling in love and the insecurities she has when it comes to her body. It is a vulnerable moment and her vocal performance is stunning. The violin led outro gives this opener a dramatic end. A start that doesn’t give away anything in regard to what’s to come.

Lunch - This one picks up the pace with its foot tapping beat. On most part her vocal delivery is laid back, however there are small moments where she decides to have a bit more urgency to her delivery. This one is definitely one of her most daring tracks lyrically as she explores sexual desires whilst connecting them to eating. Her picking this to be the one she pushes as a single is thus more interesting, however the sound and feel of the track make it a perfect choice. It is a light track that you could let loose to. The track has a playful end with the sound of breaths.

Chihiro - We get into this finger clicking track thanks to the catchy beat. Here it seems that the person is growing distant and she feels them slip away. She’s not wanting to let go, where as they seem to be ready to leave. There is this hazy feel to it as you get this feeling of being a little on edge or dizzy. The beat becomes growingly intense and you get these spaced out vocals. She then brings it back down and then again before the track ends the beat starts to build in the back once again slowly making its way to the front. Chaos ensues with this hypnotic beat that you find yourself fully captivated by as it takes over you. This one draws your attention instantly and you find yourself wanting to replay it immediately.

Birds Of The Feather - Here on this sweet and cinematic track Billie is letting the person know of her devotion. She’s completely in love and says that she’ll love the person of interest till the day she dies. She wants to stay with this person forever and you feel it in the way she sings each lyric that she’s completely infatuated. Her vocals during the verse are gentle, however she pushes her vocals during the chorus which in turn points to her meaning what she is singing. The production has quite a bit going on and it gives the track a catchy nature. You’ll find yourself nodding your head to the beat and singing along to the hook. The track closes on this rather dramatic vocal moment that sees Billie push herself in a way we don’t oft get to hear and tied with the closing is this fascinating beat. 

Wildflower - She calms it down here as the track opens with a stripped back guitar. Her vocals are tender as she sings about a sombre moment where she is consoling someone who is sad. It seems as though the girl had gone through a break up and that was why she was upset. Billie seems to then end up in a relationship with the ex of the girl she’s been comforting and she finds the thought of the girl linger in the back of her mind. The track builds and then she calms it down again as she asks whether he also has his ex find her way into his mind at times. The guitar comes back gradually rising in volume. The last line lets it be known that she is no longer with him either. There is a slight haunting edge to this track due to some of the vocalisations threaded in the back.

The Greatest - This has Billie herself in a sombre mood as she sings about her commitment to this person of interest. She’s doing everything to try and keep them happy, however it doesn’t seem to necessarily be reciprocated. She seems to praise herself in the chorus, as it seems unlikely that the other person would praise her. On most part the guitar strums remain the prominent instrumentation, however for the tracks dramatic moment the percussion takes centre stage. There is a build in the bridge both vocally and production wise, granting this track its grand moment. She expresses her frustration with the imbalance within this relationship, she’s longed for them to reciprocate the love she’s given them. She calms it back to down to close things off. 

L’Amour De Ma Vie - On this one the track starts with this classical feel through the tender production and her light vocals. Here she sings about a relationship that no longer is, she explores the emotions she felt and her feelings towards the person of topic now that all is done. She seems to still wish them the best, regardless of the pain they caused her. For the last half the track shifts, feeling as though it is a completely different song. Here she’s unapologetic as she takes aim at them, calling them mediocre. The way the shift comes in, in a way feels similar in production to that of The Weeknd’s sound.

The Diner - Here Billie’s context is unclear or that it could have duality. As she explores obsession, she’s had experiences with stalkers in the past and so you feel she maybe singing about them. However could it be about her being obsessed with herself? It has a sinister edge to it that you feel through the quirky beat and her vocal delivery. She really dives into this whisper like vocal delivery at the end that brings this one to an end. An intriguing moment on the record that stays consistent in pacing rather than switching it up. 

Bittersuite - Kickstarts with the beat right up front that jolts you a bit. This one has quite the dynamic due to the way that the production shifts during the song. Each shift feeling like a separate segment, yet managing to work as one track. The song ends on a rather interesting note. She seems to be running away from a relationship, where she knows they aren’t meant to be together. Moments like this are what truly highlight the duo’s unique touch when it comes to crafting a track. 

Blue - This closing track is interesting as it finds continuity from the note the previous track ends on. Not exactly through the beat, but how she delivers vocally. She then switches it up midway and then again a brief moment later where her vocals seem to have a more deeper tone. Either it is an effect or she’s actually singing like that. Then for the outro its this dramatic instrumentation that closes things out and it seems she throws it back to the sound of the shift in the track ‘L’Amour De Ma Vie’ we heard. Which you find is something that occurs across other moments on the album as well. This song combines two previously leaked tracks, as the two decided to rework them into one song.

Overall this album is a focused record that is cohesive sonically, she decided to keep it brief. Prioritising quality over quantity, and it has paid of. This is hands down her best project to date and one that will definitely standout amongst this years releases. It exceeds expectations and proves that Billie is an artist that is here to stay and one that will constantly challenge herself. Her and her brother Finneas make for quite the pairing, it will be interesting to continue to witness what the two create. On top of that it will be something to see if she decides that she wants to work with a different producer.

[goldenmusicmoments]

Lets Float In The Vastness Of Luke Hemmings's Extended Play Titled boy:

Luke Hemmings in 2021 made his solo debut with When Facing The Things We Turn Away From. The album was a stunning journey through various emotions. It was the year’s album of the year for sure. However it wasn’t clear as to whether it was a one of or that he’d continue to make solo music. 

He this year discreetly announced the release of more solo music, still keeping us in the dark in regard to what he was teasing. Eventually he let it be known that he was releasing a new song. He then revealed that he was to release an extended play titled boy, which was very exciting news. So I decided to not listen to any of the pre-released singles, in order to experience the body of work all at once. 

boy just dropped and it’s all that’s been on my mind. Thus I felt it necessary that we took a dive into this stunning EP together. Listening to the record you can tell that Luke has found his sound and style. However even then the record feels different to his debut album. Each moment is atmospheric and takes up the space around you. You find yourself fully immersed in this vast feeling body of work. On most part the tracks follow a similar layout with the laid back verses and then the chorus lifts into this grand moment. In terms of what he sings about here, he mainly focuses on the passing of time and how that in turn impacts other aspects of his life. 

He opens with ‘I’m Still Your Boy’ and this starts with these gentle vocals accompanied by the tender strum of guitar strings. There is a short build in the production before calming it down for the pre-chorus. The pre-chorus features these really low volume vocals and then the chorus shifts into this vast feeling moment where he repeats the title. The vocal in the second verse heightens in its emotive nature as he sings about how bad he wants this person of interest. He’s taking a walk through life so far and Luke stated that the song focuses on growing up in the spotlight. A journey from boyhood to adulthood, where you see him wanting to be better than he is. There have been struggles, however he’s hoping for growth. After the second chorus the production lifts another step as he repeats ‘I want it so bad’ with a tender ‘I’m still your boy’ audible behind it. Then things calm down as he closes with the vocal at the back rising in volume and intertwining with the now calmer repetition of ‘I want it so bad’. A start that immediately draws your focus and has you eagerly anticipating what’s to follow. 

‘Shake’ now gets things going with his ‘ah’s’ that keep that vast nature he tends to make a prominent component of his music. The verses feature this moody vocal and then the chorus finds him letting the person of topic know that all he wants is to be theirs and he can’t seem to shake that feeling off. In the bridge the vocals and production all intertwine to give you this feeling of exhilaration. He then lets you catch your breath as he brings the track to a close on a lighter note. He himself stated that although he intended on making this song not be about him and give writing from someone else’s perspective a go, it ended up connecting with how he was feel. 

We then get into ‘Benny’ and the beat comes in lightly with the volume gradually rising. He’s moody in the verses and everything picks up for the chorus. He’s doing everything he can to hold onto this person as the lyric ‘I set myself on fire, to keep you warm’ highlights his will to do anything for those he loves. The track is named after his brother and is fitting as he sings about the guilt he feels about not being able to be close by to the ones he loves. As his life as an artist keeps him on the move. Knowing what its about makes the lyric ‘What if I never knew you, Benny?’ hit you even harder, as it points to the fear you can feel with the thought of someone you love not being in your life.

On ‘Close My Eyes’ he can’t seem to get away from the things he’s trying to letting go of. This track hosts this chaotic feel due to the production having so much going on. Its complimentary to the lyrical content as he’s got all these thoughts running around in his mind and he can’t seem to put a stop to them. It speaks on the inevitable moment of leaving your youth behind as you now have to welcome adulthood. Along with that comes this wave of thoughts in relation to what things you did and what things you wanted to but couldn’t. However as a listener you can apply it to anything or anyone you find yourself saying goodbye to. 

The next track ‘Garden Life’ has this brighter feel thanks to the piano keys threaded throughout the production during the chorus. This one sticks to a steady pace on most part and you find yourself lost in it. The calmer production points to him letting it be known that sometimes the smaller moments end up becoming more beautiful memories than the ones that felt more grand at the time. His vocal delivery is really laid back here. It’s a captivating moment that gives you this dreamy and chill vibe. The outro of him repeating ‘What comes after me?’ leaves you with your thoughts, as you try to decipher what he means by that. However at the same time you think of what that might mean for you as well.

Now Luke really takes us into this dreamy space as soon as ‘Close Enough To Feel You’ begins. The melody is so pretty and the lyric ‘I don’t know what to say, I wanna be the last dream inside your head’, immediately draws you in. There seems to be a feeling of pain linked to being with the person of interest, as even though he wants to be close to them, there is a sense of difficulty there. His wife Sierra Deaton provides some of the harmonies during the chorus. He doesn’t want to let go of what he’s lost and regardless of the pain he feels, he’s decided to keep a hold of that. The bridge pulls from the exploration of his debut as it hosts a sense of familiarity.

The body of work closes out on ‘Promises’ this vast feeling moment that fully encapsulates you in its tender magic. He lightly asks on this track as to whether he can stay with the person of interest. On this track that takes up the space around you, he is finding his way out of his struggles with depression, he’s now fallen in love and that in turn has resulted in him finding happiness return to him. The song ends on this grand outro that makes you feel like you are floating on that beat. Again his wife shows up for the harmonies. A stunning close to this chapter.

What a beautiful record that exceeds any expectations you may have had going in. He’s done it again and continues to prove that he is an artist that knows his craft so well. He is so in tune with his feelings and emotions, which is why there is so much depth to the lyrics he writes. The only downside to this extended play is, is that it is too short. You are left wishing that he’d have delivered a full length album instead. He is an artist that everyone should listen to. If you haven’t checked him out yet then start with his debut album. 

[goldenmusicmoments]

Stan Wars:

Consumption of music has changed a lot and it mainly has to do with the impact social media has had. Which in turn is shown through the performance of music. Overtime you’ve seen fans become more caught up in metrics that shouldn’t matter when determining whether a record is good or not. However they’ve become obsessed with numbers and charts. They seem to care more about statistics rather than the music itself. If a record doesn’t perform well they turn on it. 

Female artists are the ones that are affected by it the most. As Stan Twitter mostly revolves around the women in the music industry. There is a lot to talk about so let’s get into it. Starting with Camila Cabello who recently dropped her new single ‘I Luv It’. She’s been getting a lot of hate from people for her past controversial moments on social media. However people are still not letting it go or wanting to forgive her. Even though she’s been making full effort to educate herself and work with organisations. The haters act as though they are on a moral high horse, whereas in reality it has nothing to do with what is morally correct or not. It is more so about what they can use against the person they dislike in order to push others to hate as well.

If you compare it to her male counterparts you’ll see a stark difference. Just look at Justin Bieber or Morgan Wallen and how the majority seem to have forgotten about their use of a racial slur. It’s not impacted the consumption of their music or their popularity. The single ‘I Luv It’ though creating conversation prior to its releases due to the teasers Camila put out, didn’t do much commercially. The song was very experimental as she took a risk, switching things up and doing something she hadn’t before. It’s chaotic nature draws you in as it leaves an instant impression. Definitely one of this years standout single releases. A lot of people came to realise that much later on. You also saw people who felt afraid to admit that it was good. That being down to the fact that they feared what others would say. As Stan Twitter has become the dictating force of what is good or not. So some who want to be cool will agree with the prominent Stan accounts. Enjoy the music you feel sounds good to you, don’t base your opinion of whether it is good or not on that of others. You’ll find that you’ll have a lot more fun that way. 

Moving onto Normani, now she’s finally announced the release of her debut album and has since released the lead single. However she’s not been able to make much noise with the single. Even as she teased it people were very vocal about how they felt it sounded dated or it wasn’t strong enough to lead the much anticipated debut album. So when she did release the single it failed to do anything. She has spoken about how she’s had to be there for her family due to one of them suffering with the a serious illness. Which has obviously affected her career. However RCA and her team have played a major role in the progression of her career, they’ve failed to have a proper and effective plan when it comes to single releases in particular. With teasing or hint and then keeping people waiting for a significant period of time for the drop. That just has led to people losing interest, regardless it hasn’t resulted in much of a change in their tactics. With the album announcement, we got no release date and then the single announcement came a few weeks later. The only way Normani could possible get anywhere is if she were to detach from the label and her team. It will really be up to the public with how they receive and celebrate the release. She is talented and definitely deserves a fair chance. 

Dua Lipa’s had quite the underwhelming reception to her new album Radical Optimism. Her singles didn’t achieve significant commercial success and Stan Twitter decided that due to that the album wasn’t worth listening to. The album is a great pop record and definitely an enjoyable listen. It also is different to Future Nostalgia, though there are a few small moments that may pull a bit from that record. If people were to detach from Stan Twitter and go into listening to the album without any preformed opinions they’d enjoy it a lot more. They want a pop girl to give them a pop record and when one does they don’t bother to give it a chance. They are so caught up on wanting to be told what is good or not by Stan Twitter. It’s exhausting on most part. Now that some time has passed you’ve come to see that people are picking up on it after giving it another chance.

Another moment in music has been the beef between Drake and Kendrick Lamar. A lot has been said and is still being said. Fans on Twitter in particular have been adding their voices and thoughts to who they think is winning. Drake has a frenzy fan following, whereas Kendrick doesn’t. Mainly because Drake’s built his entirety in the public eye and social media, Kendrick on most part has kept himself away from all of that. Drake's fans want to claim that he is on top and that people are siding with him more, yet in terms of who’s tracks are drawing the most attention. That is Kendrick as he just hit the top spot on the Billboard Hot 100 chart. Drake fans are trying their hardest to discredit Kendrick, and claiming he lost since he didn’t respond to any of the allegations. Well he hasn’t responded because he doesn’t have to answer to or prove anything to anyone. On top of that yes Drake is more commercially successful and that is because he’s made appeasing mainstream music his main priority. Whereas Kendrick makes music for the art and not because he is in pursuit of commercial success. Kendrick Lamar is the better artist regardless of the beef happening. He has a stronger discography, whereas Drake has been greatly inconsistent. 

Sometimes I feel as though my posts are purposely delayed as there is always something else that pops up. Billie Eilish just released her new album and Taylor Swift decided to release a few digital exclusive variants of her latest album featuring demo versions of some of the tracks. Which in turn has caused an uproar. Billie early on in the year gave an interview in which she talked about artists releasing multiple variants in order to boost their sales and that it was wasteful. Now she didn’t mention names, however a lot of people were quick to bring Taylor Swift up. Now Billie and her team new what they were doing. They new very well that it would trigger a certain fanbase and that in turn would generate a major conversation. All of this was a ploy to get people talking about Billie as she was gearing up to release a new record. It has become a recent trend to mention Taylor Swift in order to generate buzz or gain engagement. So how can you not expect Taylor to get tired of it and retaliate. Now Billie Eilish’s new album is a phenomenal body of work and though it is to debut at number two, it definitely did deserve to make it to the top.

Billie Eilish’s team after seeing that their tactic didn’t have the impact they had hoped, tried everything in their power to push for the number one spot. Releasing alternative versions of the album, such as a sped up version and one with isolated vocals. Though it did cause for the first week sales figure to end up being much bigger than expect, it wasn’t enough to secure the top spot. As expected her fans are now upset that she missed out on the top spot and have been throwing a fit on social media. 

Things aren’t going to change unfortunately with how Stan Twitter functions as they are hellbent on wanting to compete. What once was a place were you’d go to interact with those that shared common interests, has now become one that is extremely toxic. People have become more caught up on numbers than the music itself, and everyone wants to be known as a critic. Enjoy the music and don’t let the opinions of others dictate what you like. Every artist is talented in their own right and they are different to one another. So there should never be a need to compare. Maybe if the energy spent in fighting each other was actually spent streaming and promoting a record you wanted to do well, it would end up fairing better. 

[goldenmusicmoments]

The Discourse After The Release Of The Tortured Poets Department:

A week has now passed since the release of Taylor Swift’s new album The Tortured Poets Department and since then there has been quite the discourse surrounding it. Which seems to still be on going. The magnitude of the conversation in itself highlights Taylor Swift’s impact and popularity. With those that claim to dislike her taking centre stage. Many of these haters went running to listen to the leak or stream the album. All so that they could pick it apart to criticise and tear apart. 

So you had a surge of fans from the Beyhive, Little Monsters, Arianators, Billie Eilish fans, Olivia Rodrigo fans, Adele fans and others. They have been tweeting nonstop and are still going. All in the desperate pursuit to impact her success. Though they claim not to care, their actions are extremely opposing of that. They clearly are threatened by another artist out doing those they support. They themselves make it a competition and then the tears roll when they don’t get their way. Or they yell ‘This isn’t even a worthwhile achievement’ or ‘Her numbers aren’t impressive’, as a way to ease their pain. 

Over on TikTok there has been a range of people who all of a sudden think they are music critics pulling up with think pieces. Then you’ve had those that are regurgitating the same conversations once again that people make in regard to Taylor Swift’s lack of activism or her private jet usage to name a few. They go as far as to exaggerate or make things up in order to heighten the reaction to their ill founded content. At this point it’s become rather tiresome. As why would you be so dedicated on spending such a significant amount of time speaking about someone you clearly don’t like. The answer to that is that, only then do they get content engagement. Outside of that their content gets little to no traction. On top of that of course they’ll have their fellow haters lapping up all the ignorant commentary. 

In relation to the album itself they’ve been criticising its sound, lyrical content and length. From people saying the entire record sounds like one long song, the songwriting is poor and immature, and that it is unnecessarily long. On most it proves they didn’t even bother to listen to the record. They only listened in order to pick it apart. The lack of comprehension skills are outstanding as many of them took to social media asking what some of the lyrics meant. For an artist who makes ‘basic’ music, the haters themselves are proof of its complexity. Of course there was no effort whatsoever to think on what the lyrics could signify as they had no true desire to do so. They took a lyric or two that on their own seem odd, and ran. Yes the album is cohesive in sound, however there is clear variation. If it were to all sound the same, when listening to the album you’d not be completely aware of what track you are now on. However that isn’t the issue. 

Concerning maturity, how exactly is she immature in her songwriting. Many were asked that question and their responses proved what was expected. They didn’t pay attention. One person said she’s immature because she has a song titled ‘So High School’ on the album. Which is comical. Criticising her for still working with Jack Antonof is understandable, yes you can hope for her to find new collaborators. However she’s past the point of having a need to prove anything to anyone. So she should be allowed to do what she wants to do. Her male counterparts are never picked apart for churning out the same record. 

Now on to the actual critics. The album received a mixed reaction. However Taylor was also attacked for sharing the positive reviews. Taylor’s always acknowledged the positive reviews from the start of her career. It’s nothing new. She always shows appreciation to those that are kind to her. However again those that have made disliking her their entirety are claiming she’s doing so as a manipulation tactic. In order to push more publications to leave rave reviews as they’ll receive recognition from her and generate more clicks. If that was true then people wouldn’t be posting the negative reviews anymore. The opposition will say anything in order to tarnish her. There were alterations made to some of the reviews and it has pointed to the fact that no one can seem to handle a female artist that is doing so well. The negative reviews on most part didn’t even focus on the album they were reviewing. Instead they took talking points from Stan Twitter and ran with that. Losing all sense of credibility. 

Playlists on streaming platforms caused quite the stir with people complaining about songs from the album being placed on them. They should be aware that there is an algorithm in place that curates those playlists. They could very well create their own playlists and thus take full control in what they want to listen to. On top of that they could block Taylor Swift on the streaming services they use. However they’d not do that as they secretly do listen to her and keep close tabs on her every move.

Those in disbelief will do anything to convince themselves that her ability to sell is due to everything else but her talent. The ‘What do you expect when she releases so many variants?’. If variants were what helped boost sales, then why aren’t all the other artists that have released so many variants not able to do so. Logic exceeds the dumb as they say. Now that the first week sales figure was revealed, Taylor Swift’s reaction to it garnered a reaction from the haters. As they started yelling ‘Why is she acting surprised?’. Was she meant to expect that she’d sell that much?. How was she to predict the scale of the first week figures, yes she’d have an ideas. However why should that bother any of you, is what is hard to understand. 

Madonna just broke an attendance record at show in Rio de Janeiro and the Taylor haters decided to make it about her instead. Saying that she was now plotting a way to outdo that record. They themselves at this point out themselves, that she is constantly on their mind. They make up scenarios in their own heads to get mad over. Comical to say the least, showing her impact and scale of stardom. As no one else receives the reaction she does.

As said many times, you don’t have to like an artist or their music. However you must have nothing better to do in life, if you’ve dedicated everything to hating on them. It is rather sad. Though regardless the haters will always do what they do as they thrive off of their hate driven content. So be sure to keep a look out for my breakdown of the album, I was hoping to have done it much faster. However life has been hectic.

[goldenmusicmoments]

Let’s State The Obvious:

We now finally have Taylor Swift’s new album The Tortured Poets Department. However she surprised everyone further as she released The Anthology making the record a double album comprising of a whopping total of thirty-one tracks. So we’ve got a lot of material to keep us going. The album was sadly leaked and those that dislike her not only spread the leak, they also were the most eager to get a listen of the record.

It goes to show that those that hate her are the very first to check her music out. They are the ones keeping tabs on every move she makes. Trying to criticise her for things that don’t deserve it. They’ve been screaming since the leak about how bad the album is. On top of that they want to act as if they are being forced to tune in. I hope they are aware that an artist will be everywhere during their album release week. They’ll be the talk of the town for that period. It’s like they all lose common sense as they desperately try to tear her apart.

However the haters can’t take away from the experience of the fans. Their lacklustre efforts to try and ward people off Taylor Swift on most part fall flat on their faces. The haters may just be closeted fans with their pride not letting them admit that she’s a great artist. The leak also had them attacking her songwriting, especially the line where Charlie Puth was mentioned. Which very much points to their lack of comprehension skills and the limitations of their scope when it comes to analysis.

They most likely feel deprived that the artists they support do not give them enough music or interactions. As they should very well know that the majority of the fans love that she’s keen on making music and doing that so often. To the haters if you truly aren’t fond of Taylor Swift, then the solution to that problem is, that you simply ignore anything relating to her. You can block her, her fans and anything relating to her on social media. Though we all know that the vast majority will never do so, because they want to keep up with her, her fans and her music.

Anyways this little rant wasn’t intended, however it felt necessary. Do keep a lookout as I will be dropping a review for the record soon. It probably will be broken down into two parts. One for the first half and then another for the second half.

Go stream and purchase Taylor Swift’s new album The Tortured Poets Department.

[goldenmusicmoments]

A Chaotic Dive Into Fletcher's Sophomore Record In The Search Of The Antidote:

Fletcher releases her sophomore album In Search Of The Antidote. It comes two years after her stellar debut Girl Of My Dreams. She’s a greatly talented pop artist that dives deep into her life and who she in order to seek inspiration for the songs she writes. She’s raw and unfiltered, which really makes her standout and you find yourself intrigued by all that she has to say. Here again she doesn’t hold back. So get ready to go on this chaotic journey.

Maybe I Am - An opener that starts of with a tender strum of the guitar, however her vocal delivery and the lyrics have a very opposing feel. You get a sense of moodiness as she’s hearing all this outside noise and she brushes it off by saying maybe she is all the things she’s being called. She doesn’t seem to be fazed by the opinions of others. The chorus lifts with its dreamy heavy production and you find yourself completely immersed in it. She calms it down for the last couple of seconds pointing towards her feeling tired of it all. A start that indicates that we are going to be in for quite the rollercoaster of emotions.

Doing Better - The instrumentation from the start gets you tapping your feet to its beat. She’s letting it be known that she is doing better, however she finds that better feels worse. Which could be because of her ex still lingering in her mind to some extent. She sings about all the positive things she’s done since. However she makes it clear that all the success she’s had, hasn’t resolved all her issues. This drum heavy track has this badass vibe, however still retains a hint of vulnerability.

Ego Talking - Fletcher seems okay on the surface as she’s happy for her ex-partner to move on and have the time of their life. However internally her ego persuades her that regardless of who they are with, the love they share will never be as great as the one she shared with them. The first verse and pre-chorus are both tame with a light guitar carrying the production. When the chorus hits the production and her vocals soar, then for the next verse and pre-chorus though it calms down there is more to it than the first. Her use of ‘right’ in the pre-chorus and chorus seems to be her looking for reassurance that she’s not replaceable. She lets it be known at the end, that she’ll forever be theirs. Its the common occurrence of the difficulty in letting go of a significant love.

Lead Me On - Here the first verse has this dreamy feel to it and then the pace lifts following the first chorus. The drums take centre stage and the electric guitar is threaded throughout this rockstar moment. This will be such an electrifying song to experience live. Just before the bridge she takes it up a notch vocally, as she showcases how far her range can extend. She’s wanting them to give her even a little bit of attention and she’d be content with that, as she sings “So why don’t you just lead me on? ‘Cause something is better than nothing at all”. She really doesn’t want to let go as she tries to cling on to whatever she can, even if it may not necessarily be idealistic for her.

Two Things Can Be True - Fletcher wants to be delusional, as she wants to believe that the person of interest can still love her whilst loving someone else. The bass driven production remains steady and then lifts at the bridge. She brings it back down just before the song comes to an end. The production makes you feel as though you are in the middle of a car race, in a way playing to the topic at hand, where she seems to be competing with her ex’s new partner.

Eras Of Us - On this nostalgic track she’s looking through memories from the relationship alongside wondering what the other is up to. She throws in the title of her debut album which is a pretty cool moment in the track. She’s stuck in the past and is finding it hard to let go of the shared memories. The track finds connection with Taylor Swift’s The Era’s Tour, which when in attendance she ran into her ex-love. Like Taylor, Fletcher is going over all the memories (‘eras’). The production gradually builds as the song progresses with the drums coming in after the first chorus. The bridge feels chaotic as you feel the need to scream those lyrics alongside her and then she tones it down before closing the track.

Attached To You - Instantly gets you nodding your head to the beat. Fletcher really is opening herself up and highlighting how she is when it comes to being in and out of a relationship. She seems to ruin things on purpose out of the fear that things may end up being perfect. Here she’s afraid of becoming attached so she’s doing everything she can to prevent that from occurring as a way to protect herself. You are fully immersed in this track as its production makes it feel like it takes up the space around you and the infectious hook has you singing along to it from the get go. The verses are laid back and the production lifts for the chorus.

Crush - Here she looks back on the relationship reminiscing on the intensity of their love, though it wasn’t exactly healthy, the high is something you end up missing. The duality to the use of the word ‘crush’ is cleverly done. As at one point she’s wanting to know whether the other will crush her in the heat of their intimate moments and then at the end stating that letting go will do the same. She really pulls the production completely back for the verses, in the first chorus there is a slight rise and then it remains steady. Then lifts a little more during the second chorus. The drums soaring in tune with when she sings the word ‘crush’ really boosts its impact.

Pretending - The moody bass that feels right in your face instantly draws you in. It gives you this feeling of being on edge and then the chorus soars. The vocalisation that forms part of the chorus really takes over and you give yourself to the track. Here she sings about imagining the two together and what could be if they were. In the second verse she feels the pain that comes with the realisation that things just aren’t any longer working, but for now she’s wanting to go on pretending. It clearly isn’t an ideal headspace to be in, as it can end up consuming you. Her vocal delivery paired with the production gives you this feel of desperation to hold on.

Joyride - The moody guitar, that later fades into the back as the drums take centre stage, gets you into this vast feeling track. Here she seems to be singing about two people that aren’t exactly good for each other, however they want to give things a go. 

Antidote - This closer is the perfect end to the record as it’s her in search for healing. She wants to find an antidote that will help her deal with all that she’s been struggling with. The antidote here seems to be a person. She’s done caring about any of the outside noise and she knows that this particular person will be there for her in her moments of need. The songs feel in a way plays to the meaning behind the lyrics. It has a hint of soul to it in the way that her vocals are during the chorus. It makes you as the listener feel like you are being uplifted into a more positive space. The instrumentation during the bridge feels bright adding to the tracks hope driven nature.

The album is overall a short but impactful record. Its moody and gives of such rockstar vibes. She has such a powerful vocal delivery that adds to the rock feel. You find yourself captivated from start to finish. With the album mainly focusing on dealing with the demise of a relationship, the struggles of letting go and the search for healing. Her personal approach to songwriting allows for her music to resonate with you. Fletcher is definitely an artist worth checking out and one that deserves so much more recognition.

[goldenmusicmoments]

A Scenic Journey Through Deeper Well By Kacey Musgraves:

Kacey Musgraves had been hinting at an album release earlier on in the year and then during the Grammy Awards she aired a visual teaser. After that we got an official announcement and she also revealed that the title track would be released as the first taster for what was to come. She then performed on Saturday Night Live, after which she released the second song she performed on the show. Kacey is a great artist and she’s really made it known that she loves curating a body of work. Each of her records have stood out in their own ways and she’s switched things up from one to the next. Her passion has always been to make great music that takes you on a journey, paying no regard to appeasing mainstream music.

The album opens up with the folk inspired ‘Cardinal’ which is due to the instrumentation used here. She recently lost a dear friend, and she see’s the sighting of a cardinal as a sign from them. The bridge adds a bit of drama, changing up the dynamic of the song. The repetition of the lyrics in the bridge point to her eagerness to figure out what the message means. It’s a beautiful start to the journey Kacey is about to take you on. ‘Deeper Well’ the title track follows with the guitar pulling you into this rather light and dreamy moment. It feels very contemplative as she’s making changes in her life, by getting rid of the people and habits that she feels like are just wasting her time. She’s now looking for things that have more depth to them. The way her vocals have been produced really heightens the tracks dreamy nature. You get lost in the song as you find yourself closing your eyes and taking in the journey of growth she’s taking you on. 

On ‘Too Good To Be True’ the guitar sticks around and the vocals are placed right at the front, this one feels dreamy as well with a hint of sombreness. This is about the feelings that arise during the process of falling in love. Where you are excited by the premises of new love, however at the same time you fear something going wrong. She lets them know that if they are good to her, she’ll reciprocate that treatment. She hopes that he’s not too good to be true. The bridge features instrumentation and tender vocalisations. The song ends on a lyrical moment where she doesn’t want to wake up from a dream. A stunning moment that has an essence of vulnerability that you find yourself lost in. 

We move onto ‘Moving Out’ and this laid back reflective moment retains the previous tracks sombreness. The guitar driven production adds to its journey driven nature that is depicted through the lyrical content. The two are moving out of a place they called home, and she seems to be looking over the memories formed during the time they spent together there. She’s sad about the move, however she’s looking forward to what the future holds as well. It isn’t clear as to whether the two will be moving to a new place together or that they are going their separate ways. Kacey’s vocal delivery hosts a slight rasp to it and it really adds to the sadness put forth through the lyrics. The song closes out with dragged out instrumentation which makes you think of end credits rolling at the end of a movie or an episode of a TV show, which is fitting as here a chapter is closing to make way for a new one to begin. 

‘Giver/Taker’ dives deeper into the relationship as she makes it clear that things just aren’t working out for the two of them. She’s trying as she lets it be known that she’d give him everything he’d want, whilst expecting the same of him. In the bridge she wants reassurance that he will be fully devoted to her, as she wants him all to herself. The production paired with her vocals fills the space around you as you feel the track embrace you in its arms. Kacey isn’t allowing anything to get to her on ‘Sway’ where she stands firmly, letting it be known that she’ll bend, not break. As she’s willing to alter or compromise where necessary. She asks the person of interest to let her know what his secret is to not being fazed. The production sounds like the sound of horse hooves which play to the songs journey towards growth nature. The reflective track closes out on these cascading layered vocals that give it a grand and uplifting ending. 

Now on the guitar led track ‘Dinner With Friends’ it seems like she is yarning for someone. It is a cosy track that you find yourself immersed in. It is a beautiful moment that may make you miss those you haven’t seen in a moment or wished were nearby. The difference in melody of the verses and the chorus offers variation, altering the mood. Though she’s yarning in the verses, during the chorus she seems to be reminiscing about specific things relating to the person of interest. There is a hint of happiness in her remembering him, as it feels as though she’s smiling whilst singing the chorus. The structure of the song is interesting as we get two verses, then the chorus and another verse. The song ends with the chorus that closes out with her humming. 

‘Heart Of The Woods’ explores the connection between humans and nature, as she sings about the tendency of humans to lookout for each other in moments of need. Its a short and light moment that due to its duration may remind you of ‘Mother’ from her album Golden Hour. The production and vocal delivery give it a brighter edge enhancing the tracks hope driven lyrics.

‘Jade Green’ starts with production that makes you feel as though you are being carried by waves along a river. Here she feels a little vulnerable and anxious, thus she finds herself holding onto a bracelet given to her by someone who’s no longer a part of her life. The bracelet provides her with a sense of comfort. It also points to how even though we move on from someone, there is always some part of them we don’t want to let go off. The chorus hosts a similar feel to that of the opening track and the structure takes from that of ‘Dinner With Friends’. The guitar then takes centre stage at the end for a brief outro.

Now on ‘The Architect’ she has a few questions for the creator about life and all its occurrences. She’s unsure as to whether she’ll even get a response, however she really wants to know whether things could be done differently. By the end she questions whether the ‘architect’ even exists, due to the lack of answers to her questions. The production is tender and plays to the songs nature of being lost in your own thoughts. The chorus has someone lightly harmonising in the background. The bridge features instrumentation and airy vocalisation which makes you feel like you are floating. 

‘Lonely Millionaire’ provides for a slight shift in the production and styling of the album so far. She’s letting it be known that money doesn’t make it easier when it comes to the feeling of loneliness and that she’d trade it all for the person of topic. You might find yourself grooving to this rather chill moment. It in a way is this albums ‘Velvet Elvis’ where even that track felt a little out of place on Golden Hour. She’s gone from feeling lonely on the weekend to being a lonely millionaire. The bridge is dreamy with her ‘La la la’s’ and then we go into the final chorus. The track closes out with a mix of her humming and the ‘la la la’s’. The hook is an interpolation of JID’s song ‘Kody Blu 31’.

Kacey showcases her vocals on ‘Heaven Is’ as it is easily the most beautiful vocal performance from her on the album. You find yourself drawn into the track here and it has this feeling of warmth. It sounds like a lullaby and doesn’t feature a proper chorus. She sings about how just being with him is the equivalent of being in heaven. She wants nothing more than him. The production takes a backseat, as her vocals are the prominent feature here. ‘Anime Eyes’ is one of her most fascinating tracks musically, as she sings about love that elicits her eyes to light up. The production in the chorus in particular will make you feel this surge of joy. The track is magical and that bridge lifts the entire mood making it feel as though you are ascending a staircase, as all these emotions burst out of the seams. In a way mimicking fireworks going off. Everything then stops throwing you off for a moment and it gradually comes back shifting the entire dynamic of the track, ending it on a dreamy ethereal note. It definitely is one of the most surprising moments on the album. 

‘Nothing To Be Scared Of’ brings the album to an end on a hopeful note. The verses feature her singing about the precautions we often take in attempt to protect ourselves from getting hurt. She also in a beautiful way puts forward the message of, if it's meant to be it will be. The first chorus is her letting him know that in a moment of need he can find comfort in her, in the next one she flips it. It shares the sentiment put forth in ‘Heart Of The Woods’. There’s a feeling of warmth and comfort through her vocal delivery and tender production, as she reassures the person she’s speaking to that there is nothing to be scared of. It’s a stunning finish to the record and in tune with how Kacey perceives life to function.

Overall the album is a masterful body of work that is cohesive both sonically and thematically. She yet again switches things up and gives us something different to what she’s done before. This one does in a way draw from the songwriting style of Golden Hour, though it is a much more sombre record in comparison. People have been expecting a ‘Golden Hour 2.0’ from her and they should know that they’ll not be getting that. That in itself has resulted in them being disappointed or complaining about the record. They did that with Star-Crossed and now they are doing it with this record. Star-Crossed was a great record and one that deserved a lot more recognition. Deeper Well is even stronger and one that will definitely find high placement in this years year-end lists. It also seems to be an early favourite for an Album of the Year nomination at the next Grammy Awards. Which she and the record truly deserve. As she’s created something yet again that many aspire to, but can’t quite execute. With each listen this record grows and continues to feel fresh. The album is one that will sound perfect on a long drive through roads surrounded by greenery.