Amy Allen - "Amy Allen"

Amy Allen is a burgeoning musical nor’easter — a potential force of nature exhibiting immense talent on multiple instruments in multiple styles.

“But Eric,” you might respond, eyebrow raised in mild confusion, “how can you make such strong statements based on this self-titled debut album?”

True — this is her debut album as a solo artist and vocalist. But this is far from her first rodeo. Allen is in her early thirties now, but she isn’t getting a late start on her career. After graduating from Boston’s Berklee College of Music in the mid-2010s, she began her career by writing hits for/with several big-name artists: (click names for YouTube links) Tate McRae, Harry Styles, Olivia Rodrigo, Halsey, Fletcher, Selena Gomez, and more. These include several chart-toppers, and even the ones that don’t top the charts have good odds of at least hitting the charts. While this list may seem pop-heavy, she is stylistically flexible. She grew up playing bass in her sister’s band when she was still in elementary school, then played Folk and Bluegrass in bars as a teenager. Recently, she’s been working with Koe Wetzel, a Country-Rock artist.

But it was her work with Sabrina Carpenter on Short n’Sweet, where Allen was credited as a co-writer on every song on the album, which caught my attention. Short n’Sweet is far-and-away Carpenter’s best album yet, and while Carpenter penned most of the lyrics, the songs were also brilliantly composed in order to make the most of those lyrics, highlighting Carpenter’s sassy attitude and elevating that persona to iconic status.

Much of that credit, I feel, goes to Amy Allen. Either way, it’s hard to deny that the pair clearly have some incredible creative chemistry.

But now it’s time to discuss Allen’s solo effort — how does she do when performing for herself, rather than providing creative support to an already-talented artist?

Allen’s self-titled debut is a Pop-forward blend of genres and styles that takes its cues as much from Noah Kahan and Sufjan Stevens as it does from Taylor Swift and Halsey. The vocal melodies and hooks are thoroughly-addictive and catchy Pop, but with the darker tones of Olivia Rodrigo or Julien Baker.

Yet the compositions and accompaniment are steeped in this Folkish sensibility which often waxes rock or wanes acoustic but always feels deeper and more elaborate than you expect it to be. This can come as a bit of synth or steel guitar, an extra vocal line, or even just some subtle flourishes on an acoustic guitar line. There’s never a shortage of interesting elements to focus in on.

And then there’s Allen’s vocal performance, which comes across somewhere between the rawness of indie pop vocals and the artfully-crafted vulnerability of whisperpop. The entire album is emotionally somber, at best, providing a topographically bleak tonal vista; that of a northern seaside town beset by an encroaching tide of depression and the fear of worthlessness.

Those who enjoy having musical outlets for their darker emotions should find plenty to love here; conversely, there are no songs which feel remotely positive, so avoid this one if you hate downers. Still, several tracks are incredibly catchy; this is, without a doubt, the same mind that crafted and/or polished the hooks on Short n’Sweet. The talent here is undeniable. I’m very happy to have found this.

Rating: Teal Green