Songs for a drive down memory lane

Brontë H. Lacsamana,  Reporter

Don’t Forget Me Maggie Rogers Capitol Records

BACK in 2016, then 21-year-old Maggie Rogers went from a largely unknown college student with vast creative potential to a globally admired music prodigy with a cult following, almost overnight.

This fame was the result of a viral video where musician Pharrell Williams reacted to her song “Alaska” as part of an artist-in-residence program. He was speechless and in awe of the uniquely original demo. The electronic folk pop track that he praised was so refreshing at the time, and is still her biggest song to date in terms of streams and plays.

Ms. Rogers’ more mature, self-assured sound is a far cry from that first foray into finding her voice as a singer-songwriter. The best part is, it is absolutely just as deserving of the same speechless awe.

Her latest offering is Don’t Forget Me, a reflection of moments in a life and a glimpse into truthful snapshots throughout her 20s. Produced by Ian Fitchuk, it’s relaxed, honest, and reliant on the emotional power of acoustic in-struments, more so than her other two albums.

Ms. Rogers’ voice is distinct and familiar, beautifully nuanced in its approach to recalling the past amid a thick soundscape. “I’m fine but feel I’m breaking through. My world’s a honey shade of blue,” she sings in the album’s first track, “It Was Coming All Along.”

The next one is the fast-paced and dynamic “Drunk.” Here, her strong vocals are driven forward by the guitar-led backdrop, excited as she talks of a fiery yearning for another person. The energy it gives off, while akin to songs from her previous album Surrender — released in 2022 following pent-up emotions from the pandemic — is that of a woman returning to a vivid memory.

“So Sick of Dreaming” is the third track and the lead single of the album. It represents the entire collection best, blending Ms. Rogers’ folk-country voice with commercially viable soft-rock. The guitars accompany her heart-rending vocals perfectly, weaving a tapestry of complex emotions.

The fourth track, “The Kill,” is a standout. It laments a dysfunctional past relationship with striking, gritty guitar and bass lines, making it a quick favorite for anyone seeking hard-hitting tunes. It’s the kind of track that induces both head bopping and self-reflection.

“If Now Was Then” follows with a catchy drum beat on loop and Ms. Rogers singing of things we wish we could take back but can’t. The upbeat pace is akin to early 2000s pop-rock, her voice delicate in just the right moments.

The sixth song, “I Still Do,” is a sad, slow ballad played on piano, approached with that same delicacy rather than the powerful belting that other singers might use. “Love is not a debt you pay. It’s not something you can give away,” she sings.

This exact same strain on her voice, similar to that of folk and country singers, is utilized in great effect in the seventh track, “On & On & On.” This time, it’s more upbeat, carried by a playful bass and guitar line.

Ms. Rogers then gives us a tune to dance to with “Never Going Home,” a playful take on another story of heartbreak. “I can’t behave but I don’t wanna be alone. You kept me waiting and now I’m never ever going home,” she says.

The second to the last song is “All the Same,” proof that she is just as insightful a songwriter as the likes of Patti Smith and Joni Mitchell. The simple strumming of a guitar adds to the comforting vocals, where the young Ms. Rogers admits her inexperience and immaturity, sounding all the more mature for it.

“All the same, day by day, and suddenly you look around and find the ground still feeling like it’s yesterday. The lights are on and nothing’s wrong and still you can’t remember when you played the game,” she softly sings.

“Don’t Forget Me” closes the album, steady in its slow pop-rock lamentations about love. Ms. Rogers’ raw voice leaves an impact as the journey through bittersweet, youthful thoughts and memories comes to an end.

“Won’t you promise me that when it’s time to leave, don’t forget me,” are the final words from the album.

The spaces that Ms. Rogers’ persona inhabits fill the air indefinitely, from nights with a lover coming to an end, to regretful choices that one can only return to in memories. Her artistry blooms as much as it did when she was first discovered, and it’s safe to say she won’t be forgotten.

Don’t Forget Me is out now on all streaming platforms.