A heartfelt third album revolves around universal themes such as nostalgia for the lost innocence of childhood and adolescence
praising her songwriting at a 2016 masterclass at New York University went viral. She was soon opening for Mumford & Sons and attending the Grammys, where she was nominated for Best New Artist.
This was a lot for a musician who had grown up in rural Maryland, comfortably middle-class but far from the bright lights of the music industry. In 2021, feeling overwhelmed, Rogers signed up for a postgraduate course at Harvard Divinity School, a secular college devoted to the study of spirituality and theology. It was part of a broader pivot from the grind of life as a mid-level cult artist. She wanted to approach music less as a career and more as a calling.
Maggie Rogers signed up for a postgraduate course at Harvard Divinity School, a secular college devoted to the study of spirituality and theology. It was written in five days last winter and revolves around universal themes such as nostalgia for the lost innocence of childhood and adolescence and the ghosts of past relationships . It’s a marked retreat from the big pop oomph 2022’s glossieris locked into an unflinchingly direct groove throughout.
As a songwriter, her speciality, utilised throughout the record, is a wide-screen plaintiveness. It is deployed most powerfully on the title track, a meditative ballad where the chorus rises and falls like a lonely wave in deep, mysterious waters. “Oh, but promise me that whеn it’s time to leave,” she sings into the void, “Don’t forgеt me”. It is unclear to whom she is speaking – is it a friend, her past self, her future self? – and that ambivalence imbues a gorgeously inscrutable sheen.
The effect is both striking and loose-limbed – the tune fuses the sunny vibes of a Coldplay ballad with an open-mic, “lets try this and see what happens” spontaneity. It is a stunning validation of Rogers’s decision to step off the treadmill and tackle the music business on her own terms.
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