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in a New York University music production course, Rogers knew from day one that she was never going to be just a flash in the pan. Over the past five years, she’s found calm within the chaos—not necessarily becoming an anti-pop star, but rather, an interesting part of the mainstream landscape. Though you might not hear her on pop radio, Rogers is on a good amount of pop and indie playlists on digital streaming platforms.
In an open letter published before the release of the album’s title track and lead single, Rogers revealed that she experimented with folkloric writing. “Some of the stories on this album are mine. And for the first time really, some of them are not,” she said. But don’t waste your time trying to figure out which stories are hers and which belong to the “youngercharacter” Rogers imagined for the record.
On a standout track called “The Kill,” Rogers describes the feelings of falling in love—even when she was putting up a wall. “So difficult, but so invincible / Irresistible, but I lovеd you still / You were going in for the kill,” she sings over a western-inspired guitar riff and a thumping kick drum, channeling the empowered country-folk songstresses of the ‘90s.
The universe of Rogers’ third album isn’t centered around sadness or heartbreak, but rather the self-awareness and assuredness that comes as a byproduct of growing through emotional turmoil. Though some songs, as are expected with Rogers’ body of work, may strike a nerve and tug at the heartstrings, they lead into the peaceful acceptance of what is the closer, “Don’t Forget Me.” “Love me till your next somebody,” she aches as the album concludes.
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