The album opens with “Desert Eagle,” a song that immediately pulled me in with its swingy, dynamic production. There’s a palpable anger here, and I really love how Stokes uses her voice to cut through the intricate melodies. I found the vocal production incredibly noteworthy, creating an atmosphere that’s both powerful and vulnerable—a perfect way to set the tone for the rest of the album. The title track, “With A Lightning Strike,” definitely lives up to its name with an intense, haunting energy. The piano stabs creeping in build so much tension, while the 4x4 kick keeps the song grounded. The way Stokes repeats “It started with a lightning strike” is mesmerizing, adding layers of emotional complexity that seem to pay homage to Fiona Apple. It’s a song that only gets more intense with every listen.

“Dreamer” stood out to me immediately. The hook is so infectious that it sticks with you long after the song ends. The angular synthetic elements give it this airy, disjointed vibe that reminds me of Clairo’s “Bags.” The pre-chorus builds so much angst before crashing into a massive bridge that feels like something you’d expect from Billie Eilish or Olivia Rodrigo. It’s pop, but it’s got an edge. “I Can’t Leave” brings a more introspective tone, with halftime drums and a Radiohead-like melancholy that I found incredibly moving. The Sufjan Stevens influence really comes through in the gentle, delicate vocal delivery. I love how she balances her rawness with more experimental production here—it’s one of those songs that makes you stop and really listen. On “River,” the drum production feels gritty, almost beaten down, which contrasts beautifully with Stokes’ rhythmic vocals. The line “I’ve got a river and it’s flowing in my body” is both poetic and primal, and the way synthetic textures build throughout the song only deepens the experience.

“Life of a Woman” is all about vulnerability, with beautiful harmonies and a hazy outro that feels like the slow unraveling of emotion. The dirty drum textures are consistent throughout the album, grounding even the most abstract moments in something tangible and real. “Old Friend” brings a darker, more dangerous energy. The low guitar tones add tension, and the warm lead elements elevate the piano early on. I was struck by the way the drums are processed here—it adds such depth. The vocal stack in the second chorus adds even more richness, making this song, for me, one of the most emotionally charged moments on the album.

“When Your Heart Opens” shifts the vibe with production that feels more synthetic, almost like an indie Drake song. The harmonies throughout, especially on the hook, give it an uplifting feel, and the rollercoaster-like dynamics create this constant push and pull of emotion. The blend of 808s with Stokes’ haunting vocal delivery is stunning—it lingers with you long after the song ends. “Lost Forever Now” and “Mean Guy” show two different sides of vulnerability. “Lost Forever Now” is delicate, again channeling Sufjan Stevens with its soft, dynamic vocal melodies. But “Mean Guy” is more biting. I love the infectious energy and the pseudo-rap verse towards the end. The line “And the worst part is, I would have changed if you asked me to change” really hit me, and the smooth synth outro is one of my favorite moments on the album.

“Amusing” is another earworm with its addictive hook and solid piano foundation. The drums hit hard when they come in, but the way the synthetic fills and drum patterns shift throughout the song is what really got me. The groove is almost drunken, yet there’s something so intentional about the way it’s crafted. The switch to double time in the outro is such a clever move—it caught me off guard in the best way. The album closes with “God” and “How Things End,” bringing a sense of emotional resolution. “God” feels both haunting and euphoric, with warbly synths and reverbed drums creating a dreamy backdrop. The repeated plea “God, are you here?” feels heavy in the best way. “How Things End” is the perfect conclusion to the album, with minimal yet gritty production and woodwind instruments that add an organic texture. The switch from regular to halftime drums mid-song was a brilliant touch, pulling you into the final moments with a sense of closure.

Standout songs like “With A Lightning Strike,” “Dreamer,” and “Mean Guy” showcase the emotional breadth of this album. For me, With A Lightning Strike is a deeply immersive experience. Every song contributes to the rich tapestry of sounds and feelings that define this record, capturing the full spectrum of human emotion. It’s an album that leaves a lasting impression long after the final note fades.