Indie-pop darling Gracie Abrams just released her highly anticipated debut album Good Riddance on February 24th. The album is co-written by Aaron Dessner, who some of you may recognize from having worked with Taylor Swift on both Folklore and Evermore. Abrams approaches heartbreak in a self-reflective manner, acknowledging her own destructive behaviors and choosing to bid those parts of herself good-bye. Every song’s individual sound melds together into an emotional symphony of synths and strings. Here’s the breakdown of every song on the album, from the absolute heart-wrenchers to the ones that feel like they could’ve picked up the pace:
1. “Best”
“Best” pulls no punches, opening the album with the line “I was bored out of my mind.” Abrams describes the pains of one-sided love, pulling away emotionally while stringing her lover along. “And I destroyed every silver linin’ you had in your head/ All of your feelings, I played with them,” she admits, “Go ahead, we can call it conditionin’/ We were too different, you were so sensitive.” Abrams expresses her regret and attempts at penance but admits that she was “never the best to you.” Rarely do we get to see a breakup song written from the perspective of a remorseful emotionally manipulative lover, and it’s a really refreshing, honest take on heartbreak.
2. “I know it won’t work”
Continuing where “Best” left off, “I know it won’t work” details the struggle of wishing to rekindle a failed relationship while knowing that it would only cause more pain. Abrams asks her lover to move on while struggling with her own regrets. “But you’re better off, I’m bein’ honest/ So, won’t you stop/ Holdin’ out for me when I don’t want it?” she sings, “Just brush me off/ ‘Cause I’m your ghost right now, your house is haunted.” The pace increases gradually, mirroring Abrams’ increasingly desperate pleas while the drums maintain their steady heartbeat rhythm.
3. “Full machine”
“Full machine” flaunts a funky flair and hopeful attitude that contrasts with the previous two songs, but not in an unpleasant way. This time, Abrams expresses the desire to fix her broken relationship. “I should probably stop/ Instead of forcin’ a breakthrough,” Abrams admits, “It’s just that I’ll always choose you.” There’s an ominous undertone to this upbeat song that almost feels like she’s relapsing. The lines “I had a life here before you/ And now it’s burnin’” sound loving until you separate them from the melody. Reexamining the lyrics feels like an unveiling of willful ignorance, and it’s an interestingly complex set-up for what initially feels like your typical love song.
4. “Where do we go now?”
The second single of the album, while effective, feels a bit underwhelming when compared to the rest of the songs. Abrams adds up all the little red flags she’s experienced, asking her lover if they should start fresh or move on. “There’s nothin’ left here/ All our best years are behind,” she laments, “What a brutal way to die/ But you choose it every time.” The chorus, while purposefully disorienting in its repetitiveness, buries the lyricism of the verses, leaving the song feeling a bit hollow.
5. “I should hate you”
Slipping back into a slower rhythm, “I should hate you” is all about bleeding yourself dry while tending to someone else. Abrams calls out the ungratefulness of her lover, regarding it as a betrayal. “Pulled your knife out my back, it was right where you left it/ But your aim’s kinda perfect, I’ll give you the credit,” she says, unable to fully resent them. The repetition of the chorus increases over time, with its varied dynamic making it more palatable than its predecessor.
6. “Will you cry?”
Abrams discusses the inevitability of her relationship’s demise, pondering whether her lover will mourn it as much as she is. “It’s kind of funny when it goes from all to nothin’/ You have to laugh before you start to cry,” she sings, “‘Cause now I stop myself from holdin’ onto somethin’/That makes me feel a little less alive.” The somberness of the song has such emotional depth, especially when aided by the subtle reverb and mild echo.
7. “Amelie”
The third single, released two weeks before the album’s release, “Amelie” recalls Abram’s memorable interaction with the titular girl, though it’s in question whether that meeting was pure fiction or reality. I was extremely excited when the lyrics were released. They felt real and raw. “Tell me more, I would give you all my time/ All your words felt like a nursery rhyme,” she sings, “Comfortable, handin’ you my whole life/ When all of your words felt like a funeral rite.” While I love the lyrics and the piano beneath them, the guitar pulled me out of the immersion. The song just feels slightly off, which is a real shame, as the concept of someone who massively impacts your life without even existing has so much potential.
8. “Difficult”
The lead album’s lead single, “Difficult” covers a wide variety of internal struggles, from the fear of living on your own to romanticizing a significant other. Abrams captures the inability to fully describe emotional turmoil, singing, “To name this feelin’/ Would take a hundred thousand years, some kind of grievin’.” It’s a catchy tune that hides some deeply resonant lyrics. It fully captures the spirit of wanting to work on yourself but being aware that it’s far more difficult to actually change.
9. “This is what drugs are for”
Abrams describes using substances to try and cope with her loss, although all her efforts are in vain. “Now I feel you in my room/ Haven’t seen you in a lifetime/ What am I supposed to do/ When you used to be my lifeline?” she laments. The synthesizers match the song’s hazy feeling, and the guitar feels less jarring, though it feels slightly less impactful than the rest of the tracks.
10. “Fault line”
“Fault line” contains one of my favorite lines in its chorus: “I know you’re a fault line, but I’ll break too.” There’s an acknowledgement of mutual destruction and needing to move on for both parties’ well-being. Abrams just wants the pain to end, singing, “You could go and I bet I’d recover overnight/ Finish hurtin’ each other.” The lyrics are blunt, refusing to sugarcoat all that the pair have been through and the damage that’s been caused.
11. “The blue”
The introduction of a new, potentially perfect match leaves Abrams wary. She’s just come out of a painful relationship and is cautious of entering something new. “I’ve never felt this close to someone/ What if you’re my weakness?” she asks. This person has emerged unexpectedly, and yet she can’t help but be drawn to them. It’s the perfect embodiment of being afraid of potential good in one’s life, but wanting it so desperately.
12. “Right now”
The nearly six-minute outro to an unbelievable album, “Right now” is Abrams ode to moving out and moving on. While afraid of the unknown, she feels more like herself than ever. “I’m so high, but can’t look down/ Left my past life on the ground,” she sings, “Think I’m more alive somehow/ I feel like myself right now.” Abrams is looking back at how far she’s come, and there’s a large sense of pride and progress. It’s a fitting ending, one full of hope after an album full of pain.
Good Riddance is a heart-wrenching experience, though some songs don’t have quite as much impact as they could. Much like Taylor Swift’s Midnights, Good Riddance contains similar sounds that creates difficulty when distinguishing certain songs from others, a fact which is a bit ironic given Abrams is opening for some of Swift’s spring The Eras Tour shows. However, there’s a gradual change in rhythm that matches the ups and downs of Abrams’ experiences, making it significantly easier to follow and enjoy the album as a single cohesive piece.
Gracie Abrams is a stellar singer-songwriter. All of her songs are authentic and raw, almost painfully so. Her deep introspection and ability to admit her faults add to the album’s relatability, and her delicate tone beautifully conveys an emotional depth that can’t help but draw you in.