The phrase “daughter from hell” conjures a certain image: slammed bedroom doors, heated kitchen-table arguments, big incomprehensible feelings and loud music turned up to drown it all out.
But Gracie Abrams’s third studio album, released July 17, is not written from the heat of teenage angst. Daughter From Hell is instead a quiet, introspective look at life so far.
It trades melodrama for nuance, mapping the smaller, harder-to-name feelings of early adulthood with a restraint that has quietly made Abrams one of her generation’s most trusted songwriters.
The result is an album that earns its provocative title precisely by refusing to live up to it.
