If you've composed about fifteen moderately introspective songs, you intend to record them and you want them to sound like a National record, all you have to do is call Aaron Dessner, and the final result will undoubtedly be very good (even if a little repetitive). Among other things, Dessner often brings along some friend or relative, such as Bon Iver, Marcus Mumford, or his brother Bryce, exactly as happens in the new album signed by Gracie Abrams. This time Taylor Swift is not there, but only because she had already been involved in the previous work, when the two American singer-songwriters recorded “us.” together, and Abrams was chosen to open numerous dates of the pyrotechnic Eras Tour. “Daughter From Hell” is not the first collaboration between Adams and Dessner, who wrote and produced it together (with a few further contributions), but compared to previous projects (the best seller “The Secret Of Us”, the previous “Good Riddance” and most of “This Is What It Feels Like”) the feeling is that this time Gracie has really made the definitive leap in quality.
Inside the sixteen tracks included there are reflective lyrics and shadowy melodies guided now by acoustic guitars (“Death Wish”, the poignant “Good Reason” and “Sober”), now by the piano (“The Knife”, the more upbeat “Men Like You”, “Broke My Heart”, “Mews”), the usual reverence towards Swift (listen for example to “Minibar”, which tries to raise the pace for the space of a couple of minutes) and evident proximity – certainly not unprecedented – with Olivia Rodrigo (“Look At My Life”) and Lorde (“Hit The Wall”). To break the rhythm they first of all take care of the title track, stand out of the album built on simple turns of electric guitar (electricity, finally, even if the atmosphere always remains rather modest) and some exciting crescendos on which Abrams is good at climbing with her voice, creating perfect situations whispering pop song (the ending of “Humming” is a relevant example). Dessner's touch, whatever instrument he finds himself playing, is as usual very evident, even if he leaves a couple of objectively negligible moments along the way (“Imaginary Friend”, “Afflictions”). Bon Iver is on “Broke My Heart” and “Humming”, Marcus Mumford with “What If It's Right?” reciprocates Gracie's presence on “Badlands” (from the recent “Prizefighter”).
While the double “Folklore” / “Evermore” remains the project from which she continues to strongly draw inspiration, with “Daughter From Hell” Gracie Abrams creates a new chapter of indie-folk with an intimate and confessional edge which, alongside the usual acoustic minimalism, combines the (successful) attempt to refine and broaden her artistic language, exploring more expansive and layered sound territories, often supported by more complex string arrangements. We perceive the desire to go beyond the concept of “bedroom pop” to embrace a more mature indie-(pop)-folk, capable of filling both the intimate dimension of listening in the bedroom and that of sports halls. An exploration without filters that begins to fully define the singer-songwriter's complex transition towards adulthood, freeing herself from any cumbersome comparison to begin to be only herself, with all her vulnerability.
07/23/2026
Daniel D`Amico for SANREMO.FM
