The first time I listened to “Surrender” by Maggie Rogers I was on a bus to New York City. The city came into view as “Overdrive” played. That moment was so euphoric and I was overtaken with the possibilities of what was coming next: new cities, new experiences and new relationships. 

Fast-paced, energetic, “Surrender” was bathed in city lights. Her latest album “Don’t Forget Me” feels like coming back from the city, embracing the silence found in the comfort of home.  It’s slowed down, and feels like taking a deep breath, unpacking, replaying the memories and settling back into the present. 

“Don’t Forget Me” is drenched in warm sunlight in stark contrast to the cold urban illumination of “Surrender.” 

I’ve followed Maggie’s career since the beginning when she went viral after leaving Pharrell speechless with her song “Alaska” at an NYU class. 

Something about “Alaska” pulled me in. It’s folksy but electronic, her vocals airy but grounded. Since then, Maggie Rogers has continued to straddle those two antithetical sounds. 

“Don’t Forget Me’s” influences are apparent – the sounds borrow from your favorite 90s indie-rock album. 

Artists like Lorde (especially on “Solar Power”) and Haim have also inherited the relaxed but slightly danceable sound. 

“So Sick of Dreaming” is reminiscent of Shania Twain’s “That Don’t Impress Me Much” with satirical lyrics about the men who need to be taken down a few pegs. You know, the boys who carry combs up their sleeves and drive around in gray Cadillacs. 

Rhythmic tempo and jangly guitars keep the narrative moving. Similar to Twain, under the backdrop of twangy strings, Rogers talks through the rest of the story – her being left at a restaurant for a Knicks game. Who in their right mind would stand up THE Maggie Rogers?!

Despite the similarities to Shania Twain, Maggie’s voice is still entirely her own. In the chorus, she releases her vocals in a lament and proclaims, “I am so sick of dreaming.” 

Maggie is exceptional at emoting through her voice. She fully lets herself go and at times, it feels like she is letting out a wail from the depths of her stomach (see her “Fallingwater” live performance on SNL). 

“Don’t Forget Me” is largely based on that same sound: steady drums, punchy lyrics and Maggie’s unforgettable vocals. 

The two ballads on the album wash over listeners with a sense of calm, but Maggie truly excels when the production is filled with more movement. 

Overall, there is less energy even on the more upbeat tracks but the sound still flows beautifully. Maggie fully gives in to a more “driving down the PCH” type of sound rather than the “dancing in the club” kind of sound present in “Surrender.” 

Rogers creates space on this album; moments where it’s just the sound or an elongated vocal note. She invites you to slow down, reminisce and truly learn to bask in sunlight. 

The opening track “It Was Coming All Along” is filled with nostalgia as she recounts painful moments of goodbye: leaving your childhood home or growing up and seeing your 22-year-old self in the rearview mirror. The sound is gentle with a steady drumline throughout the verses, the chorus a hopeful wave of melodies played on the keyboard and guitar taking the foreground. 

The song is representative of the entire album as a whole. In the darkness there is light, and sometimes all you need to do to see it is slow down. 

She is still toying with the line between folk and electronic but favoring the former more.

On “If Now Was Then,” a funky guitar plays during the chorus, immediately making you tap your feet. It’s clear that Maggie understands how to push music forward – the sound is never stagnant. It’s always leading to a satisfying conclusion. 

Especially in today’s musical landscape, production doesn’t always feel complete (i.e., the TikTok songs that have one memorable, catchy melody but the rest of the song never lives up to it).

Every beat, every note on “Don’t Forget Me” adds to the overall energy even if it’s a more laidback sound.

My favorite part of a Maggie album is always her highly emotive vocals. Her feelings are on her lips and performed with utter vibrance. 

On “Never Going Home,” a folksy guitar solo plays before the bridge, once again reminding you that movement is Maggie’s aim. 

“On & On & On” is one of the most country-sounding tracks on the album and has a heavy dose of wavy bass and a twangy series of notes after the chorus. 

“Don’t Forget Me” explores the past but doesn’t stay there. It’s not looking to the future either, but rather asking you to breathe in the present. Inhale. Exhale. Take a minute to look around and remember where you are. 

Maggie describes the album as “a Sunday afternoon, worn-in denim. A drive in your favorite car. No makeup, but the right amount of lipstick. Something classic. The mohair throw and bottle of Whiskey in Joan Didion’s motel room. An old corvette. Vintage, but not overly Americana. I wanted to make an album to belt at full volume alone in your car, a trusted friend who could ride shotgun and be there when you needed her.” 

It feels exactly like that. It’s glittery boots – a little bit of country and a little bit of rock. 

Maggie Rogers continues to be one of my favorite artists because her music feels so intentional, so grounded and it’s been that way since “Alaska.” 

Every album feels like she is telling me her favorite story, guiding me through every step of life with a new lesson each time. 

It feels apt that the first time I listened to “Surrender” I was in a big city for the first time in a long while. It was a fast-paced exhilarating trip. But with “Don’t Forget Me,” I am home, enjoying and learning to slow down.