Maggie Rogers’ Vulnerable Folk-Pop Is Worthy of a ‘90s Rom-Com

Lana Del Rey, Maggie Rogers, boygenius Team for All Things Go Festival
Lana Del Rey, Maggie Rogers, boygenius Crew for All Issues Go Competition

Maggie Rogers – Don’t Overlook Me
Capitol Information

It could have been straightforward for Maggie Rogers to embrace the fully-formed pop star lure that launched her profession. 

After her whimsical electro-pop debut “Alaska” impressed Pharrell (and subsequently went viral), she landed a major-label deal and a coveted visitor spot on SNL. However following the discharge of her catchy however overly produced debut, 2019’s Heard It in a Past Life, Rogers pivoted to rock star mode: Along with her 2022 follow-up, Surrender, she sharpened her storytelling and basked within the existential questions that surfaced whereas finding out at Harvard Divinity Faculty. Now, together with her third studio album, Don’t Overlook Me, Rogers hones in on extra intimate moments.

Written over 5 days and touted to reflect the sensation of a “Sunday afternoon,” the report harnesses the ‘90s folk-pop leanings of artists like Michelle Department and Natalie Imbruglia, together with the tender gut-punch of Bonnie Raitt. Rogers daydreams by the unwavering vulnerability of a journal entry, capturing fleeting moments with a cinematic rom-com lens: the nervousness of a attractive romp (“Drunk”), the candy devastation of goodbyes (“It Was Coming All Alongside”), the eager for a doomed romance (“I Nonetheless Do”). 

There are nonetheless homages to her beginnings: “If Now Was Then,” which might have appeared on the Dawson’s Creek soundtrack, evokes the huffy, breathy lilt of “Alaska,” whereas mid-tempo rocker “By no means Going House” reaches the hovering, hooky heights of prior anthems like “Love You for a Lengthy Time” and “Mild On,” although with the sting of ‘80s Fleetwood Mac. Nonetheless, a throbbing ache stays her throughline, as Rogers pries reminiscences open and examines the place issues went astray. “You stored my secrets and techniques and stole my weaknesses / In your white T-shirts, however I couldn’t fill / The sneakers you laid down for me / From the women that got here earlier than,” she seethes with frustration over the jittery guitar riffs of “The Kill.” 

With Don’t Overlook Me, Rogers sounds totally assured abandoning the glossiness of her earliest work—she doesn’t want studio prospers to bolster her transcendent songwriting. – GRADE: A-

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