{"id":2506326,"date":"2026-07-17T17:03:54","date_gmt":"2026-07-17T17:03:54","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2506326"},"modified":"2026-07-17T17:03:54","modified_gmt":"2026-07-17T17:03:54","slug":"daughter-from-hell-the-5-best-tracks-on-gracie-abrams-new-album","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/daughter-from-hell-the-5-best-tracks-on-gracie-abrams-new-album\/","title":{"rendered":"Daughter From Hell: The 5 best tracks on Gracie Abrams\u2019 new album"},"content":{"rendered":"

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Over the last decade, a trio of singer-songwriters have dominated pop music. 36-year-old Taylor Swift<\/a> inspired and toured with 26-year-old Gracie Abrams, who, in turn, inspired and toured with 23-year-old Olivia Rodrigo<\/a>. But while this lineage of diaristic, angst-filled lyricism has produced some of the biggest hits of the past ten years, by 2026 these soul-baring pop stars have begun to diverge. With her blockbuster wedding to NFL chad Travis Kelce, Swift has become \u2013 at best \u2013 an overly commercialised vision of the American Dream; with her latest album, You Seem Pretty Sad for a Girl So In Love<\/em>, Rodrigo has grown into an artist\u2019s artist in her own right. Abrams, meanwhile, is starting to feel as though her music hasn\u2019t evolved at the same pace.\u00a0Above all, her latest album, Daughter From Hell<\/em>, feels stuck in the past.<\/span><\/p>\n

To Abrams\u2019 credit, repeating history is the project\u2019s explicit focus, tracing the turbulence of her teenage years as she brands herself the titular <\/span>Daughter From Hell<\/span><\/em>. Throughout, Abrams draws from her rich toolbox of visceral \u2013 if slightly vague \u2013 metaphors, describing herself variously as \u201ca crack in the pavement,\u201d \u201ca pill swallowed down\u201d, <\/em>and \u201cnot a problem you can solve<\/em>\u201d. On the title track, she even offers a direct apology to her mother for all the aforementioned angst. The production, meanwhile, plods through a sepia-toned liminal space of pulsing synths and indie-folk guitars, with a throwback in the form of its sole guest appearance from Marcus Mumford. Both sonically and figuratively, this is a slow walk down memory lane.<\/span><\/p>\n

Given her rare gift for articulating an aching heart, and the fact that they share hit songwriter Dan Nigro as a collaborator, the parallels with Rodrigo abound. However, where Rodrigo\u2019s latest album approaches these emotions with newfound maturity, Daughter From Hell<\/em> sees Abrams relive her teenage suffering with all the pain of the moment and none of the wisdom that has presumably followed. The album recreates adolescent intensity in detail, but rarely reframes it from the perspective of the adult looking back.<\/span><\/p>\n

This languishing has its moments on tracks like \u201cThe Knife\u201d and \u201cMinibar\u201d, which rank among the most cutting and vivid songs Abrams has ever released. But by the time she tells us she\u2019s heartbroken in the millionth different way on \u201cBroke My Heart\u201d, <\/span>the repetition begins to dull the emotional impact. She veers dangerously close to familiar caricatures of teenage girlhood, <\/span>relying on familiar images of romantic devastation without always finding something new beneath them. For all her instinctive intimacy as a songwriter,\u00a0it\u2019s hard not to leave <\/span>Daughter From Hell<\/span><\/em> feeling that Abrams is diaristic pop\u2019s middle child: too caught in the past to know where to go next.<\/span><\/p>\n

For all its meandering, however, the album still contains flashes of songwriting greatness. Below, we break down the five best tracks on Gracie Abrams\u2019 third album, <\/span>Daughter From Hell<\/span><\/em>.<\/span><\/p>\n<\/div>\n

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