Rachel Platten - "I Am Rachel Platten"

Because the usual self-title wasn't a strong enough statement

It’s been a while since we’ve heard from Rachel Platten. I had started to wonder if she would ultimately just be a flash in the pan (and, to be fair, that’s still possible), but she has ended her seven-year hiatus with I Am Rachel Platten, her fifth studio album. Platten was active in the industry for over a decade before her wildly-popular single, “Fight Song”, lit up the airwaves in early 2015; her debut album released in 2003. But then she had her first long hiatus, and it would be eight years before her follow-up effort.

Wildfire in 2016, which contained “Fight Song”, has been the definitive bright spot for Platten’s career; 2017’s Waves didn’t see nearly as much success — possibly because there was only a single single: “Broken Glass”. And, if you follow that link to YouTube, you’ll likely recognize the chorus, but it isn’t nearly as instantaneous or iconic as “Fight Song”.

If somebody says the phrase “fight song”, that song is in your head. Period. Unless you listen to zero pop, ever, and manage to avoid it even on random internet posts or something.

All of that is to say that, coming into this album, seemingly with the intent to define herself, musically, is going to be a bit difficult given the strength of Wildfire and its hit song. But Platten is making the effort, as she states in the album’s trailer, to introduce us to the real her. Especially the person she is now.

See, Platten’s seven-year hiatus wasn’t without cause — she’s a mother now. Her daughters were born in 2019 and 2021. That is, understandably, a life- and perspective-changing transition. Parenthood changes a person, definitively.¹

Platten has also mentioned in interviews that she faced several mental health crises (including post-partum depression) during the hiatus, and that comes through in several songs — right from the start. Album opener “I’ll Be Her” mirrors “Fight Song” — in the sense that it looks similar, but everything is flipped. The tone is anthemic, but in the context of a person who is battling through doubt and fear despite knowing how capable they are.

When the fear is gone
And I open up the cage
When I finally jump
And stop bein' so afraid
I'd be bulletproof
Let it ricochet
Ooh
I'll be her someday

The following song, “I Know”, continues this tone, but more down-tempo as a bit of a piano ballad that gradually picks up steam.

“Bad Thoughts”, the album’s sixth track, was written to help Platten navigate a panic attack,² and this song is really the height of the mental health concerns that the album deals with. “Bad Thoughts” is one of the best songs on the album, too, and it’s followed by “Mercy”, which is also good and has one of the biggest swells.

But at this point, it’s clear that the album has an issue. Individually, each song is good, with memorable melodies and hooks and solid lyricism. But on every listen of this album, I hit this point around tracks 6-8 where I’m wondering how much longer the album has because it’s been at least an hour now.

The album is only 48 minutes (rounding up) spread over thirteen songs. But there is an absolute dearth of tempo. Even the songs that have energy in this first two-thirds don’t really have tempo. And it just drags. The fact that several songs lean into Gospel influences³ with a lot of organ doesn’t necessarily help with that; the choir is a nice touch though.

I’ll remind you that I grew up on Country. I love me some sad songs. These will be welcome in some of my playlists, but there will be variety there to support them.

Tracks 9 and 11, “I Don’t Really Care" (Set Me Free)” and “Gimme Something”, are the only upbeat songs on the album. And that would be fine — the current structure just leaves a lot to be desired.

“Need You”, Track 12, is more mid-tempo, closer to “I’ll Be Her”, but it begs the question: is Synth Gospel a thing? Gospelwave?

I need to also underscore that the album closes with a Michael Bolton feature. I’m always happy to get new Bolton vocals. Obviously, it isn’t the best Bolton feature ever (that honor will always belong to The Lonely Island’s “Jack Sparrow”), but it’s good.

Overall, I don’t believe that this album will entirely shift Platten’s legacy as the “Fight Song” singer. It does help to showcase other sides of her, but even that is limited, as the album spends a lot of time on the mental health angle, and only “Girls” really addresses her new identity as a mother, which feels like a huge missed opportunity.

But despite those complaints, the album does shine on several fronts. Platten is still an extraordinary vocalist, with her talent showing through at several points. And all of these songs can readily become memorable for several reasons: they’re very melodic, have strong and unique hooks, and feel extremely personal. They will resonate with people.

If you want to give it a whirl, though, I recommend playing it on shuffle. Might get better spacing for the up- and mid-tempo tracks that way.

Rating: Green

1. If it doesn’t, then that person needs to do some serious introspection.

2. This was revealed on Platten’s Instagram account.

3. The album was recorded in Nashville. I blame that.