Maggie Rogers - Complete Artist Review
Complete Artist Review after being recommended to listen to every album. Here you will find an overview of Maggie as well as my personal rankings of her first three records. You will also find my Top 10 Songs as well as a link to an Essentials Playlist in this pages 1st photo
Maggie Rogers
It’s time to admit that I have been behind on the Maggie Rogers curve. Big shout out to my friend for suggesting that I listen to her brand new, third studio album. After loving it, I decided to deep dive and explore not just her three-album discography, but her whole story. What an incredible woman Rogers is. Unbelievably humble, deeply relatable, and extraordinarily talented. Rogers’s music, just like herself, is incredibly authentic and fresh. Initially, taking her folk, singer-songwriter roots and combining them with her, at the time, newly found appreciation for post-modern dance music. An unconventional blend of musical styles and genres, but does it work? Of course, it does. Maggie then continues to push the boundaries of her sound, with each album taking on different genres, styles and feelings but staying true and authentic to Maggie Rogers.
Rogers attended the Clive Davis Institute for Recording Music at NYU (a program I always wanted to attend) and honed in on her passion for making music. There is even a video online of her playing “Alaska”, which would end up on her first album, to music producer/artist Pharrell Williams as he was visiting one of her classes at the time. After sharing her background with Williams, she played him her song and almost immediately you could see his world shaken up. Williams had just “discovered” a star unlike any other in the making.
Rogers went on to release her debut record, “Heard It In A Past Life”, which according to Apple Music is a “thoughtfully sewn patchwork of anthemic synth-pop, brooding acoustic folk, and soft-lit electronica.” Maggie has a deep understanding the production process in music, and the production of her records are at masterful levels. From the first track “Give A Little”, you immediately hear those artificial electronic synths carrying her singer-songwriter verses. It’s organic but also synthesized. “The Knife” has layers upon layers of musical accents that culminate into a gorgeous blend of natural and unnatural sounds. That melody too ...
Now let’s talk “Alaska”. It’s descriptive like any folk song, but it’s icy, dreamy, and haunting from the deep, rich synths and atmosphere. Rogers’ vocal range is showcased heavily on this track from ethereal whispers to mesmerizing falsettos. Are these tracks ones that will make it to Top 40 radio? Maybe not, but that’s where the more “commercial”-like tracks come in. “Light On” was a single from her debut that takes every aspect of the first few tracks but picks up the pace and energy. Filled with space and atmosphere, but still there is this larger-than-life anthemic feeling to it that is achieved. How Rogers does it is a mystery to me.
“Past Life” is a deeply introspective piano ballad where Rogers gets existential. A voice that could make grown men cry. “Say It” is filled with synths dancing up and down the track laid over an almost R&B-styled percussion. “Retrograde” gives us a taste not only once again of an anthemic feeling pop song, but crisp and shiny guitar playing. Rogers’ harmonies are used percussively and truly elevate the track to beyond memorable. Leaning into that slightly more commercial structure, songs like “Burning” and “On + Off” hit the nail on the head.
The electronic beats and rhythms feel unconventional, almost “Odesza”-like.
Maggie Rogers’ sophomore record, “Surrender”, kicks off a different sound for the starlet. The record was recorded up in Maine during the pandemic and released in 2022. Rogers, like most of us, were deeply missing live music and the energy that comes with it. So she created a record that demands to be played live. The record’s opener, “Overdrive” holds onto those descriptive, folky lyrics from her debut, but with a raw, pop-rock style now. Rogers’ vocals soar as high as ever, the studio drums, rich piano progressions, and electric guitar somehow bring you closer to her.
“That’s Where I Am” is loud and electric, but not noisy. The evolution feels natural for Rogers as she tries to replicate the chaos, intimacy, and physicality of being at a live show or music festival. This can be heard truest on “Want Want”. The piano is chaotic, but controlled, and it is a foot stomper. Electro-pop is achieved and solidified on this track and loads up the bases for the rest of the album to hit the grand slam.
Don’t think that the electronic elements from her debut album are gone, though. Albeit not as prevalent on this record, they are expertly used as accents on this record. Especially on “Anywhere With You” where electric guitars and thumping drums are carrying you through the song, these modern electronic accents grab ahold of your bones.
If you, for some reason, question Rogers’ vocal range or singing ability by this point, which you’d be crazy to do, just sit down, turn up the volume, and listen to “Horses.” Wow is all I can say. “Shatter” is an outright rocker, and you can’t help but cheer Rogers on from wherever you’re listening. Me? At my office desk reviewing medical charts, bopping my head, and pumping my fists for my girl Maggie.
The record has its personal, introspective moments too with songs like “I’ve Got A Friend” showcasing masterful piano playing.
Onstage Maggie can be “a little wild, spontaneous”, but there is something so natural about it. Forever we have seen artists perform live and to an extent it feels scripted. Every move, every gesture. But every performance I have watched of Maggie is different, as she is connecting to the music in a different way every time and just letting it take over her body. Everyone can relate to this feeling. You’re alone, the music is turned up, maybe you’ve had a glass of wine, and you are just really feeling the music and you can’t control yourself. That’s Maggie onstage.
Maggie Rogers has just released her third studio album, “Don’t Forget Me,” which once again evolves sonically. Having just received her master’s degree in religion and public life at Harvard Divinity School, Rogers puts together a record that is lyrically and musically diversified. Familiar themes of lush synths and pop are blended with elements of Americana. This record is confident and seemingly true and honest to Rogers as she has grown over the years. You can tell just by listening to this record that she is having fun. That her walls have started to come down and she’s becoming even more authentically herself.
“It Was Coming All Along” enters the room with signature Maggie vocals, plush synths, full strums, and a steady drum beat. The lyrics are personal, the real-life phone call recordings are creative, and the melody is addictive. Hook this one up to an IV and pump it into your body.
“Drunk” is upbeat, energetic, and haunting all at the same time. It is dramatic without the mellow and demands endless replays. The single “The Kill” and following track “If Now Was Then” soar high. There is this nostalgic, country/singer-songwriter approach to these songs with a blend of Americana pop.
“I Still Do” is a beautiful solo piano ballad that is heartfelt and personal. “On & On & On” feels like a sonic tribute to 2000s pop with the heavily developed warmth and confidence that Rogers exudes on this record.
I am not a country fan and I think this record is the perfect example of how to toe the line and utilize the elements that work in country music and make it unique, charming, and pleasant. Yeah, I said it.
It Was Coming All Along (Don’t Forget Me)
Drunk (Don’t Forget Me)
Alaska (Heard It In A Past Life)
The Kill (Don’t Forget Me)
The Knife (Heard It In A Past Life)
Overdrive (Surrender)
Anywhere With You (Surrender)
That’s Where I Am (Surrender)
If Now Was Then (Don’t Forget Me)
Give A Little (Heard It In A Past Life)
Don’t Forget Me (2024)
Surrender (2022)
Heard It In A Past Life (2019)
Album Rankings
TOP 10 SONGS
In No Particular Order
I’ve been reading some reviews of this latest record, and the critique suggests the approach is too simplistic and lacks in variety. I think I can understand that if I were someone casually listening to this record and having my mind made up before it finishes. To counter those criticisms, I would say the record has a strong thematic cohesion. In particular with its sound, but I find the different melodies and intricacies standing out on each track. And if you think the record is too simple? Well … let’s see what you bring to the table. What I hear is a woman evolving and growing as an artist and carrying the elements and signatures that identify her into everything she does. Rogers’ music is organic and personal first. After that, whether it’s Americana pop, pop-rock, or synth-folk, the music is authentically Maggie Rogers. I cannot wait to see what’s next for her. Don’t hold her back. Keep an eye on her and enjoy the art she puts out.