The Tartan

Lucy Dacus, one of my top five voices in music and a longtime favorite artist, has finally released her fourth studio album, entitled “Forever Is a Feeling.” The 13-track record, released on March 28, serves as an intimate and near-voyeuristic time capsule of Dacus’ recent queer relationship with bandmate Julien Baker, along with other events and people in her life, and it’s a special collection of music. 

While the record has received some polarizing reviews, it’s reminiscent of Lorde’s 2021 project “Solar Power”: music made for the artist and not for the public’s approval. It’s not her best work, but it’s not meant to be. The lyrics are strong, the refrains that pop up are usually catchy, and the emotions are profound. I’m glad to be a listener, and I’m happy to spotlight how some of these songs, while many do fall short of perfect, might just join the best in her catalog.

“Calliope Prelude”

If I understood music on an exceedingly technical level, I’d give you a lengthier analysis of this introduction to the album. But I don’t, so I won’t. It’s beautiful, and I want to hear it live.

“Big Deal”

Dacus’ transition between these two songs is seamless and smooth. The minute the strings and guitar trade places, I’m swept away. In the opening verse, Dacus weaves a gorgeous tapestry of candid, imagery-laden lyrics communicating the acceptance of their feelings, the surprise when they come to the surface on both sides, and the shock that it means as much as it does. The inevitability and enormity of this relationship are gorgeously conveyed. In my eyes, the simple statement of “You’re a big deal” is a beautiful thing to think and say about someone. Lines such as “So what changes, if anything? Maybe everything can stay the same” in her ethereal, layered vocals paint a moving picture of this relationship.

This track rewired my brain chemistry on my first listen, and it’s my most-streamed song of the last 30 days. I wonder if it’s possible for any other track to surpass it.

“Ankles”

Before I knew “Big Deal” existed, this was my favorite song and is still my most cherished single. As a lead-in to this album, it sets a high bar. The lyrics are incredibly sharp, and the building strings and rhythmic guitar blend seamlessly in a sonic landscape I crave in more indie pop. During the chorus, we travel through Dacus’ mind and relationship, the sensual and the mundane, in a beautiful, seamless package. Bonus points for harmonies in the second chorus — my brainworms have been going crazy. 

“Limerence”

This song’s instrumentation can only be described as dramatic — the strings and cascading piano being topped by her theatrical voice create an engaging soundscape, which almost makes me mourn its stronger identity as a song. The narrative is incredibly maudlin, all about breaking someone’s heart and hiding it from them because the truth of your feelings is too heavy. But it doesn’t stick with me; Dacus is strongest with a solid refrain, and the track feels more like a poetic piece rather than a cohesive song.

“Modigliani”

This song, being about friendship in the most tight-knit, tender way, is so special to me. It’s a rich portrait of Dacus’ and Phoebe Bridger’s relationship, sweet and personal and an egregiously obvious love letter. Lines like “You make me homesick for places I’ve never been before,” “I’ve heard this anecdote at least a dozen times … I know every word and inflection as if it were mine,” and “You will never be famous to me” sit with me the most. The instrumentation, with its gently plucked strings and tiny trills in the final minute, serves as a gorgeous vocal spotlight and cements this as an album highlight.

“Talk”

All the scary little swells, drums and “Melodrama”-esque Jack Antonoff jagged-edged synths make this song a little sonically overwhelming. In all honesty, I had to read the lyrics — cutting, interesting, even intense — to understand them at first. I love the use of “talk” as a recurring word, but I find this to be a slightly harder listen.

“For Keeps”

Stripped-down guitar and poetic lyrics are recurring themes on the album, and so is the idea that the only thing that matters to Dacus for comfort right now is love, not its permanence. “If the devil’s in the details” is a strong repeating line, and so is the simple chorus lead in of “We were not something / We were not nothing.” Overall, it’s a sleepy ballad that has less impact on me than some of her stronger works, and it’s not as strong a showing of her vocals as I’d like it to be.

“Forever Is A Feeling”

The opening piano hits, and the song takes off as a complete storm. I adore the way Dacus’ voice sounds on these notes and tight harmonies, embellished by synths and gentle backing vocals (by the other two boygenius members!). The production is so interesting, and I find myself lacking more eloquent descriptive words for it. Lyrically, I have two strong takes: “Forever is a feeling” is a beautiful line, and “Yeah, you’re smart, but you’re dumb at heart” is absolutely not. Regardless, it’s one of my favorites so far.

“Come Out”

Very poignant, very dreamy. The fluttering harps interspersed throughout are incredible, and so is the queer undertone in the title and the story-spinning lyrics. It’s an open, raw plea and a confession rolled into one, and while I appreciate the song’s place on the album, it’s simply nice, not truly great.

“Best Guess”

I constantly find myself singing these lyrics — special mention to “I love your body, I love your mind / They will change, so will mine.” Candidly, I love simple songs like this. It doesn’t matter to me how deep or subversive any of it gets. It’s a sweet love song, not a treatise, and the singsong nature of these collected compliments to a lover is palatable and engaging in the best way. I love the guitar from Madison Cunningham, but I do have some small gripes with the vocal layering that sticks the top line and harmonies underwater. The song becomes muffled in the last couple of minutes and falls into overproduction and clutter by the outro, but it doesn’t detract from the easy listening experience.

“Bullseye (with Hozier)”

As these are two artists I hold in extremely high regard, I wanted this track to be so much better, and huger, and to have more yearning. The steady, chugging instrumental and soft vocals from Hozier are pleasant, if not surprising, given the passionate ballad I expected them to produce together. Musically, it’s gorgeous. Thematically, I love the exploration of young love and lasting support. Lyrically, though, there isn’t enough of a solid throughline outside of the chorus to keep listeners engaged. The ending was abrupt as well, and that, I mourned.

“Most Wanted Man”

This song takes us back to a little bit of sexy, a little bit of Julien Baker’s backing vocals, and a little bit of flair that the other tracks have been missing. The driving strums and strange guitar chords (a tad too strange for me in the bridge) are interesting, and the message of desire turning a partner into a legend to pen infinite books about is effectively conveyed. My favorite moment is when the electric guitar drops out in the bridge and Dacus’ layered vocals are spotlighted again. But my least favorite moment comes right after, with a lackluster end following the outro. I wanted another rise to the song’s eventual fall, 

“Lost Time”

I do love “Lost Time” as a closer and a new discography pick. I also didn’t realize how far back her vocals had been pushed in many tracks until they were at the forefront again. The lyricism and imagery are so vivid, with petals as a wedding aisle on the sidewalk being so commonplace yet so astonishing, so casually sung in the second verse. Every time Dacus sings “lost time,” I’m reminded of why her voice makes me feel emotions most other singers can’t evoke from me. The bridge slowdown to the swelling ending is one of her best pieces of music, and it transforms the song completely, bringing a sonic urgency the record has sorely missed. Her mentions of all the little mementos you gain from sharing space with someone and having them know and remember you like you do them are tender, precious, and beautiful. I’m glad we got a glimpse.

Favorite tracks: “Big Deal,” “Ankles,” “Lost Time,” and a second tier of “Modigliani,” “Forever Is A Feeling,” and “Best Guess”