Amy Allen’s self-titled debut
album review
“For me, the lyrics are the standout. Throughout the album, I kept catching myself thinking, “Oh, that’s so good. That’s so smart. Wow... her mind.” While each element of the album is strong, the lyrics remind me of the first time I heard Regina Spektor or Ingrid Michaelson—artists with a natural gift for capturing the human experience in succinct, beautiful prose.”
You’ve probably seen Amy Allen’s name on several of your favorite pop songs over the last few years. Her songwriting is prolific, and as a fellow Mainer born and raised here, I feel an immense sense of pride whenever her name appears in the credits. For the past four years, she’s been releasing her own music on streaming platforms, and now, we’re finally getting a full project. Amy Allen, her debut self-titled album, is a compelling blend of haunting melodies, experimental production, and deeply personal lyrics. Each track unfolds with its own unique sonic signature, showcasing Allen’s diverse musicality and lyrical mastery.
For me, the lyrics are the standout. Throughout the album, I kept catching myself thinking, “Oh, that’s so good. That’s so smart. Wow... her mind.” While each element of the album is strong, the lyrics remind me of the first time I heard Regina Spektor or Ingrid Michaelson—artists born with the gift of expressing the human experience in succinct, beautiful prose. I want to dive into each track because I believe they each paint such a distinct picture that talking about the album as a whole feels like I’d be leaving something out.
The album opens with "Darkside," a moody production that immediately sets a dark, atmospheric tone. Its beautiful juxtaposition of haunting verses and a warm, uplifting chorus captivated me instantly. The line “You see the beauty and I see the truth” resonated deeply, and the unexpected synth-string post-chorus adds a striking touch, creating a strong foundation for the rest of the album. Next, "Girl with a Problem" embraces a gritty, alternative vibe reminiscent of the 2000s. Dark guitar tones and a whispery vocal delivery give the track an experimental edge, while the harmonies in the second hook bring a sweetness that contrasts with the song's earlier mood. The bridge’s unexpected production twists and a delicate vocal run create an intricate and memorable soundscape.
"Pillar" stands out with its fusion of Rhythm Ace and breakbeat drums, complemented by haunting synth arpeggios. The hook melody and the lyric “Born to be a pillar, always been a giver, looking for solid ground and haven’t found it” are particularly striking. The post-chorus vocoder line nods to Radiohead’s Kid A, adding an intriguing layer to the track’s production. With its beautiful synth tones and familiar yet fresh vocal melody, "Weirdo" also impressed me. The song’s production evolves halfway through, introducing cooler elements, while lines like “I think you’re kinda strange, but you’re mine” and “Bend every rule into a rainbow” highlight Allen’s ability to blend poetic sentiment with catchy, inventive lyrics. It feels like the perfect track for Grey’s Anatomy—a random but important note.
"Reason to Forgive" brings a Phoebe Bridgers-inspired vibe with emotionally resonant strings and relatable lyrics. The timeless melody captures the essence of finding forgiveness in relationships, making it a poignant, relatable addition to the album. The track placement is particularly smart, and this song showcases that best. "The American" features a striking guitar tone and impactful drums, exploring the complexities of a relationship colored by cultural differences. The hook's strong vocal melody and the subtle addition of bells in the second verse enrich the track’s emotional depth, painting a vivid picture of feeling reduced to a label instead of being truly seen.
"Even Forever" delivers a euphoric hook and expansive production, marking the album’s grandest moment. The classic verse melody and “Ahh” riff evoke a Taylor Swift-like quality, while the lyric “Nothing lasts forever, even forever can’t last forever” and the huge, vocal-free outro amplify the song’s emotional resonance. Stripped down to just Allen’s voice and guitar, "Break" offers a raw, introspective moment. The minimal production tastefully evolves, maintaining a consistent vibe while adding subtle elements that heighten its emotional impact. The “Sky high” line and distant sirens at the end ground the track beautifully, making it a touching, reflective piece.
"Unafraid" takes a more alternative approach with glitchy production elements reminiscent of early Jeremy Zucker. The stripped-back second half highlights Allen’s vocal melodies against a simpler backdrop, while the line “You’re so unafraid, I was that way once before” encapsulates the track’s introspective nature. The hook of "Kind Sadness" is one of the album’s most ear-catching moments, blending familiar melodies with a unique touch. The lyric “It’s a kind sadness” reflects a nuanced view of emotional experiences, and the classic indie production allows Allen’s voice to shine. A well-placed guitar solo brings the track to a satisfying close.
As the album nears its end, "To Love Me" switches up the vibe with a waltz-like rhythm and poetic lyrics. The song reflects a sentiment similar to Allen’s earlier work Taste but with a more lyrical twist. The line “To love him is to love me” and a powerful bridge evoke imagery of stadium singalongs, offering a grand, emotional climax. Closing the album with acoustic simplicity, "Choices" features delicate vocals and ethereal production that builds behind the guitar. The line “Even on my best days I miss you” perfectly captures the lingering feelings of a past relationship, and the infectious hook melody wraps up the album on a high note.
Amy Allen’s debut album is a masterful journey through emotional landscapes, innovative production, and lyrical depth. Each track contributes to a cohesive yet diverse listening experience, marking Allen as a permanent and important fixture in the singer-songwriter genre.