Okay, let’s get one thing straight: Faye Webster’s music is the perfect mix of “I’m feeling kinda chill but also kinda emo” — and I’m here for it every time. Her songs are the kind of low-key yet layered tracks that stick with you, whether you’re having a good day or just need something to match the vibe. What strikes me most about her work is the way it balances a sense of personal vulnerability with a level of composure that makes it feel like both a reflection and an invitation. It’s the kind of music you can listen to while lost in your own thoughts or during moments of quiet introspection — the kind that makes mundane tasks feel a little more meaningful. So, after countless hours spent listening to her discography, I’ve decided to compile a list of my favorite tracks. These are the songs that consistently resonate with me, whether for their lyrical depth or the delicate instrumentation that underpins them. If you haven’t yet discovered her music, this selection serves as a great introduction to the delicate beauty and emotional range that Faye Webster’s work offers.
- “Is it too much to ask”
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Starting off strong with “Is It Too Much To Ask,” this track is built around restraint, musically and emotionally. The arrangement is sparse, letting the central question hang awkwardly, almost uncomfortably, in the air. It’s built on a few simple lines and a melody that never pushes too hard, which is exactly why it works. Faye lets the space between thoughts do a lot of the heavy lifting here — she’s not pleading, just wondering, maybe even second-guessing herself in real time. Sonically, the song has that wonderful, raw, Faye Webster beat to it, and it rhythmically delivers a beautiful listening experience.
- “SHE WON’T GO AWAY”
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I recently found out that Faye wrote this song about another girl, a friend, who was competing for the same love interest as her — which adds an entire layer of subtle tension I hadn’t originally picked up on. The song is slightly hypnotic, leaning into sonic minimalism while conveying emotional clutter. The tension isn’t overt, but it lingers just beneath the surface, much like the song’s subject. What I love here is how low-key neurotic this song feels without ever raising its voice. It’s repetitive, yes — but purposefully so, like it’s looping the same internal dialogue you’d rather not be having. It feels like spiraling a little but not dramatically, more like: “She’s still in my head, and I’m just letting it happen.”
- “Jonny”
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“Jonny” works almost like a character sketch. The narrative is simple, but Webster’s delivery makes it feel oddly cinematic. It’s less about what happens and more about how it feels to observe someone slipping away. There’s no dramatic climax, which makes the emotional dissonance all the more effective. I’ve always loved how simple this track is. It’s the kind of song that doesn’t try to tell a full story — it just captures a specific kind of ache. I like that it’s not asking for sympathy or closure, just noting that someone is gone and it kind of sucks.
- “THINKING ABOUT YOU”
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A soft and sparse track that does exactly what it says on the label: it sounds like thinking. The pacing is slightly off-kilter, almost like a stream of consciousness that loops back on itself. There’s no real buildup, no payoff — just the slow burn of fixation, which makes it weirdly addictive. It doesn’t dramatize overthinking, it just presents it as a fact of life. It’s low-key, but structurally clever in how it mirrors the mental process it describes. I love how casual this song is—it doesn’t try to romanticize anything, but somehow does anyway.
- “KINGSTON – Recorded at Electric Lady Studios”
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Don’t get me wrong, I love the original Kingston — it’s a beautiful track and structurally, it’s genius. But this live recording adds warmth and texture to a track already built on atmosphere. Honestly, I have high expectations for any song recorded at Electric Lady Studios. I have yet to come across a song recorded there that will be anything less than charming. The Electric Lady version of “Kingston” strips it of its original polish, revealing the subtle dynamics at work: a slightly dragging rhythm, understated vocals, and a sense that time is stretching just a little. The track turns into not just a love song, but a love story: a slow burn.
- “OVERSLEPT (FEAT. MEI EHARA)”
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“Overslept” is a mood piece, less about narrative and more about emotional atmosphere. The lyrics hint at a disconnect, at misalignment, but without dramatizing it. It’s one of the more subtle representations of emotional drift I’ve heard, and it’s better for not forcing the metaphor. This song isn’t sad in a dramatic way — it’s more like an emotional jet lag, where you’re not upset exactly, just vaguely disconnected. The vocals feel like they’re floating in that half-awake space, and that kind of disoriented softness really works for me. Not to mention the fact that mei ehara’s voice complements Faye’s so well — they blend together beautifully.
- “BETTER DISTRACTIONS”
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Arguably one of Webster’s sharpest pieces, this song uses ironic detachment to explore avoidance. The instrumentation is smooth and almost nonchalant, which pairs well with the lyrical theme of finding solace in the irrelevant. What I like most about this one is how blunt it is without sounding bitter. It gets at that feeling of wanting something to hold your attention, even if it’s totally meaningless. There’s something kind of funny and sad about that idea. It’s not melodramatic, but the emotional undercurrent is crystal clear: everything’s fine, but not really.
- “HURTS ME TOO”
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This track is one of my favorites because it’s one of her most direct. I like how it doesn’t waste time dressing up the sentiment. The lyrics are simple but devastating, and the delivery is so calm that it almost sneaks up on you. It’s a good reminder that you don’t have to be dramatic to be honest. The chord progression is classic, almost blues-adjacent, but the delivery is soft and modern. It’s emotionally articulate without over-explaining itself. The strength here lies in its clarity — it says exactly what it means without dressing it up.
- “KIND OF”
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“Kind Of” operates in a space of emotional ambiguity — appropriate, given the title. I like how it doesn’t pretend to have any personal answers, it more so serves as a thoughtful self-reflection and a possible step into something new. Lyrically, “Kind Of” tracks the early flickers of a new relationship — those tentative, uncertain moments where everything is exciting but also mildly terrifying. Faye reflects on how she’s typically braced for the worst (“I’ve always been the type to see all the bad before all the good things”) and how even this hopeful new connection feels like foreign territory. But instead of resisting it, she lets herself lean in, just a little.
- “RIGHT SIDE OF MY NECK”
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To round out this list, I saved my favorite for last. I love “Right Side of My Neck.” The title lyric is oddly specific, and that specificity gives the song weight. It’s a song about a single memory, a fleeting moment, and how those moments become emotionally disproportionate in hindsight. The production is crisp but spacious, allowing the imagery to land cleanly. It’s observational songwriting at its best — concise, intimate, and effective without trying too hard. I would argue that this song is one of Webster’s best examples of micro-emotional storytelling: no melodrama, just a sharp image that lingers longer than it should. It’s one of those songs that feels incredibly personal, as if you’re hearing something you weren’t meant to, but it’s too beautiful to look away.
I’ll be the first to admit: this list doesn’t cover every great Faye Webster song, and that’s not because they don’t deserve a spot. Narrowing it down was no small task, and I wish I could add more, but these are the tracks that have stuck with me the most. These songs aren’t just favorites because they sound good (though they do); they’ve stayed with me because they manage to articulate feelings I didn’t know I needed to hear. There’s something refreshing about an artist who doesn’t overexplain, who lets ambiguity and understatement carry the weight. So if any of these tracks hit a little too close to home, don’t worry, that’s kind of the point.