Barrie's first album as a solo act is an enticing confessional. Read Max Freedman's review here:
, her first Barrie solo album , she hits the reset button. Barrie is now a glistening, confident synth-pop act with tinges of folk, and the warm yet tentative hue that cloudedis mostly gone. The shift is fitting: Lindsay’s newest songs are about gleefully growing into new love at the same time as losing a parent. Even without overtly referencing her grief, she paints a compelling picture of the joy and challenges that come from everything changing at once.
It’s easy to read the titular character of the folky reflection “Jenny” as Smith when Lindsay describes an underwater embrace like something out of an artful 2010s coming-of-age film. “Jenny, I don’t know where to love from,” she later confesses amid acoustic guitars that sound like being so transfixed you can’t act on it: True love, she admits, can be scary.
By comparison, on “Dig,” Lindsay points all her arrows toward head-over-heels love. “I can’t get enough of you!” she shouts ecstatically on the chorus; the music sounds likerefracted through a campfire song and twisted into a shouting match. It’s viscerally beautiful, and Lindsay needs none of the album’s near-ubiquitous synths to make her point: When you take a swing at love and get there, the joy is worth all the roadblocks that preceded it.falter in any one song.
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