Gracie Abrams has never shied away from vulnerability, but Daughter From Hell finds her exploring darker emotions than ever before. Rather than centering every song on a relationship, Abrams spends much of the record confronting herself, unpacking anxiety, self-doubt, and the complicated process of growing up under a spotlight.
Aaron Dessner once again serves as Abrams’ closest collaborator, producing much of the album with a sound that feels both familiar and more expansive than her previous releases. Acoustic guitars, pianos, subtle percussion, and swelling strings remain at the heart of the record, but several songs grow into something much larger by their final moments, giving Abrams more room to let the emotion build naturally.
The title track immediately sets the tone. Beginning with warm guitar lines before gradually opening into a fuller arrangement, Abrams reflects on the qualities she wishes she had inherited while questioning parts of herself she can’t seem to change. It’s an understated opener that introduces many of the themes revisited throughout the album.
One of the album’s emotional standouts arrives with “Death Wish.” Starting as a delicate piano ballad before gathering momentum, Abrams delivers some of her sharpest writing as she revisits a relationship that’s become impossible to repair. Rather than relying on dramatic production, the song allows its lyrics to carry the weight until the final moments finally erupt.
That intensity carries into “The Knife,” arguably one of the strongest songs on the record. What begins as a quiet piano-driven confession slowly transforms into one of the album’s biggest sonic moments, layering drums, electric guitar, and orchestral elements underneath Abrams’ increasingly confident vocal performance. It’s a reminder of just how much she’s grown as both a songwriter and vocalist since Good Riddance.
Elsewhere, “Look at My Life” injects a welcome burst of energy. Produced alongside Dan Nigro, the track trades heartbreak for something more introspective, examining the emotional toll that comes with constant attention and expectations. Its faster pace provides one of the album’s most immediate hooks without sacrificing the vulnerability that’s become Abrams’ trademark.
The lighter moments are equally important. “Mini Bar,” co-written with Audrey Hobert, breaks up the emotional heaviness with playful lyrics and an infectious melody that feels tailor-made for late-night drives. Guest appearances throughout the album are subtle but effective, with Justin Vernon adding rich harmonies to select tracks while Marcus Mumford contributes to one of the album’s most heartfelt moments.
Even across its quieter stretches, Daughter From Hell never feels directionless. Abrams knows when to pull production back and when to let a song bloom, creating an album that’s more interested in emotional honesty than radio-ready choruses.
Daughter From Hell releases this Friday.
