Gracie Abrams' "Daughter from Hell" Lacks Emotional Depth

Gracie Abrams' third album, "Daughter from Hell," released by Interscope, presents a stark contrast between its dark, dramatic lyrical content and its persistently pretty musical arrangements. Across 16 tracks, Abrams explores themes of pain, responsibility, and adolescent melodrama, referencing imagery such as slip knots, blades, bullets, car crashes, and drowning. The album's title itself is a nod to Abrams' own teenage experiences and her tendency to question blame. Despite the intense lyrical subject matter, the music often adopts a saccharine, quivering prettiness that critics argue undermines the intended emotional turbulence.

Abrams' influence on contemporary pop is noted, particularly her early bedroom-style songs which reportedly inspired Olivia Rodrigo's hit "Drivers License." However, the review suggests Abrams' sound is largely derivative, drawing heavily from artists like Lorde for vocal harmonies, Phoebe Bridgers for intimacy, and Taylor Swift for narrative structure. Abrams herself has collaborated with Swift, having opened for her on the Eras tour. Furthermore, she shares producer Aaron Dessner of The National, whose signature sound, reminiscent of Swift's "Folklore" album with its pearlescent acoustics and subtle vigor, is evident throughout "Daughter from Hell." Justin Vernon of Bon Iver also contributes to two songs and plays instrumentation across the record.

The album's blend of melodrama and intimate vocal delivery is described as resonating most strongly with a young audience, capturing the adolescent sensation of experiencing overwhelming emotions. For older listeners, however, the music is perceived as lacking the depth and impact suggested by its lyrical themes. The review concludes that the dissonance between the album's gothic-inspired emotional narratives and its sweet musicality renders the record "bloodless," failing to deliver the impactful emotional resonance it aims for.