Review Summary: Sigrid, (mostly) unshackled
Sucker Punch, while a solid affair, had a bit of an identity crisis. The best moments of the record came in the form of sugary dance-pop anthems, on which Sigrid could channel her inner Robyn and create wonderfully infectious hooks. But once in a while, the album would throw in an awkward indie pop number or dull ballad that threatened to derail the project. This is not to say that I want to pigeonhole an artist into just one musical lane; however, as I said at the end of my
Sucker Punch review: “Sometimes you’ve just gotta capitalize on a good thing when you hear it”. Sigrid’s ability to create addictive synth-pop bangers was her greatest strength on that debut album, and thankfully she decided to pursue that direction further with
How to Let Go. The opening track “It Gets Dark” immediately makes its presence known, with the singer-songwriter delivering memorable vocal hooks over a deep chasm of synths; that first minute really sets the tone for what
How to Let Go will deliver for the rest of its runtime. Much like Carly Rae Jepsen before her, Sigrid has found a way to reconcile public approval and critical praise with an 80s-influenced pop sound. Is it the most original thing in the world? Certainly not. But goddamn if it isn’t enjoyable. “Burning Bridges” is completely steeped in that 80s sound, proving to be a jaunty number with glossy synths and an incredibly charismatic vocal performance. The same could be said of “A Driver Saved My Night”, a song that could have easily been included on Dua Lipa’s most recent record with its nostalgic tone and charming lyrics.
What’s more is that some of
Sucker Punch’s flaws have also been touched up here; Sigrid dives into more emotional and personal territory, but the results aren’t nearly as shaky as on her debut. “Grow” is a wonderful example, marrying lovely acoustic guitar work with some of her most confessional and revealing lyrics; the overall tone of the song exudes a perfect balance of melancholy and hope. This is immediately expanded upon with the following track and album closer “High Note”, a short and sweet power ballad that details the singer’s laments with time and its swift passage; no matter what happens, Sigrid wants her career and life to end on a high note. It’s worth noting that not all is perfect on this new project, as there are still a few derivative tunes that hold the record back. For instance, “Last to Know” is just a standard piano pop ballad with very few features that distinguish it from what you’d typically hear on Top 40 radio; “Dancer” is similarly bland, proving to be a boring midtempo power ballad with relatively uninspired vocals. Still, I have to commend Sigrid for broadening her reach, even if it led to mixed results. Regardless, she mostly stays in the realm of dance-pop, which is definitely her comfort zone.
How to Let Go serves as a nice followup to
Sucker Punch, expanding upon the original’s strengths while learning from some of its pitfalls. Sigrid’s getting closer and closer to fully realizing her sound, and I couldn’t be more excited to hear the results.
