![\"Billboard](\"https:\/\/i.imgur.com\/2HpFicp.png\")
<\/p>\n\u201cLook at My Life\u201d<\/h2>\n\n\n\tIt\u2019s hard to pull off a song about how difficult it is to be famous and successful \u2014 not because it\u2019s so unbelievable that celebrities might struggle under such pressures, but simply because it\u2019s hard for a large majority of the population to relate. When a lot of people would gladly swap places with artists singing about how their lives aren\u2019t all they were cracked up to be, lines like \u201cI got what I wanted, it doesn\u2019t sit right,\u201d don\u2019t always reverberate.<\/p>\n
\n\tIt\u2019s a fun, well-written song that serves as a much-needed uptempo lift to balance out the slower-paced areas of the tracklist, but it doesn\u2019t do much to give a new perspective on life in the spotlight that people haven\u2019t heard time and time again \u2014 not like another song on the album does, at least. (More on that later).<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cSober\u201d<\/h2>\n\n\n\tOn \u201cSober,\u201d Abrams intriguingly plays with the concept of sobriety vs. intoxication as a way of conceptualizing being in a relationship with a specific person vs. not. It\u2019s a pretty song that could possibly have been even better with a little more specificity.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cGood Reason\u201d<\/h2>\n\n\n\t\u201cGood Reason\u201d calls back to some of the central themes on Good Riddance<\/em>, with Abrams reflecting on how she broke the heart of someone who felt more strongly about her than the other way around. She knows that sometimes it\u2019s this type of breakup that can be the most painful: when there isn\u2019t any particular \u201creason\u201d for it, and one person just isn\u2019t feeling it anymore.<\/p>\n\n\tInterestingly, Abrams later learns what it\u2019s like to be on the other side of the equation on songs like \u201cBroke My Heart\u201d and \u201cMews,\u201d where she becomes the person who\u2019s left in the dust.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBroke My Heart\u201d<\/h2>\n\n\n\tAbrams is one of pop\u2019s most poetic songwriters, and \u201cBroke My Heart\u201d is no exception \u2014 but the best parts on the song come when she throws in a straightforward, unembellished phrase that stands out more powerfully in contrast with her metaphors and imagery. \u201cI\u2019d rather get hit by a train than have to let go,\u201d she sings frankly at one point on this song, and, even more plainly at another, \u201cYou just broke my heart.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cWhat If It\u2019s Right?\u201d (feat. Marcus Mumford)<\/h2>\n\n\n\tAbrams and guest artist Marcus Mumford\u2019s voices sound gorgeous together as they play the parts of two lovers who are equally unsure about whether to call it quits on their relationship or not. They reflect back on their time together without seeming to realize that their dialogue is already starting to sound like a post-mortem, indicating that the relationship is already over, even if they don\u2019t realize it.<\/p>\n
\n\tOne thing is for sure, though: They\u2019re both to blame for the place they\u2019re at now. \u201cAin\u2019t it sad sharing this stage?\u201d the two stars sing.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cMen Like You\u201d<\/h2>\n\n\n\tWith an ever-ascending chorus and topsy-turvy string accents, \u201cMen Like You\u201d finds Abrams eviscerating a two-faced opportunist who took advantage of her by calling out some of the behaviors she recognizes from past encounters with smarmy men. In the last line of the chorus, however, she seemingly reveals that she\u2019s actually addressing a woman \u2014 \u201cGirl, I know men like you\u201d \u2014 somehow making the betrayal even worse.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cImaginary Friend\u201d<\/h2>\n\n\n\tWritten with boyfriend Paul Mescal, \u201cImaginary Friend\u201d puts a spin on the childhood concept of make-believe companions to instead refer to someone from Abrams\u2019 past, whose presence lives on in her mind despite it being years since she actually knew them intimately. \u201cYou don\u2019t know even half of what you\u2019re missing\/ I\u2019m cool now, if you even care,\u201d she sings in deceptively catchy melodies over mid-tempo acoustic guitar. \u201cDo you remember all the s\u2013t I broke? Well, I fixed it.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Knife\u201d<\/h2>\n\n\n\t\u201cThe Knife\u201d is written from the inevitable point of heartbreak where you\u2019re convinced the pain is going to last forever, in this case represented by a knife \u2014 which itself is a recurring symbol throughout Daughter From Hell <\/em>\u2014 stuck in Abrams\u2019 side that she refuses to pull out. This simple piano lament momentarily builds to the brink of a breaking point as harmonies, guitar and percussion intensify during the bridge, but she immediately pulls right back into the more reserved chorus before there\u2019s ever a true release \u2014 possibly representing her refusal to move on.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cMinibar\u201d<\/h2>\n\n\n\tReuniting with The Secret of Us<\/em> cowriter and childhood best friend Audrey Hobert, Abrams marks her most pop-forward moment on Daughter From Hell <\/em>with \u201cMinibar.\u201d Over happy drums and bright walls of harmonies, she sings of social awkwardness and feeling adrift in the confusing reality of being 20-something, unsure of whether her place is with the \u201cgirls and the gossipers\u201d or just by herself.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHumming\u201d<\/h2>\n\n\n\t\u201cHumming\u201d never crescendos louder than its title suggests, but it serves Abrams\u2019 point that even the smallest bit of noise can make a difference in a world so overrun with cruelty. Grappling with her role as a provider of light and community to her fans when so much suffering is taking place around them, she offers up some of her most poetic moments on the album on this quiet-but-mighty track.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCold Goodbyes\u201d<\/h2>\n\n\n\t\u201cCold Goodbyes\u201d seems to convey a more nuanced version of some of the feelings Abrams tried to explain on \u201cLook at My Life\u201d as she daydreams about ending her life in different senses of the phrase, concluding that she \u201cknow[s] better\u201d than to make any drastic exits. That doesn\u2019t stop her from feeling unmoored in her own body and station in life a lot of the time, which she shares in a way that feels a thousand times more honest, raw and relatable than most artists\u2019 attempts at lamenting the downsides of celebrity.<\/p>\n
\n\t\u201cLook at all of these people\/ Do I have to play tonight?\u201d she sings. \u201cUsed to know what landed well for me\/ But now it\u2019s hard to find.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cAfflictions\u201d<\/h2>\n\n\n\tAbrams told Olivia Rodrigo for Spotify that \u201cAfflictions\u201d is the one true love song on Daughter From Hell<\/em>, because she normally finds it difficult to write about the topic. \u201cWhen I\u2019ve tried to write about it before, it kind of diminishes what it actually feels like,\u201d she said at the time. \u201cBut that [song] is super real for me.\u201d<\/p>\n\n\tIt\u2019s easy to understand why she\u2019s so fond of the song once you hear how it moves at the same comfortable, easy pace Abrams sings about finding with her partner in their relationship. The lyrics are also poignant without being cliche as she describes a love forged through past bumps in the road caused and experienced by both parties: \u201cIt\u2019s the shape of your hands\/ Made me brave once again\/ You became where I land.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cMews\u201d<\/h2>\n\n\n\t\u201cMews\u201d comes from a place of acceptance, but one that took a long time to reach \u2014 and just because Abrams is there doesn\u2019t mean she\u2019s not still hurt. Each lyric tumbles out honestly, effortlessly and without any pretense over descending piano chords, like an inner monologue. She knows that the person who inspired it is too far away now to hear her after leaving without warning, but the words still come. <\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDeath Wish\u201d<\/h2>\n\n\n\tFans who are used to the live version of \u201cDeath Wish\u201d that Abrams recorded on tour and released in April 2025 should brace themselves for something that sounds entirely new, with the star picking up the pace and swapping out the mellow piano for fingerpicked guitar. But the lyrics still hold as some of her best as she deftly deconstructs each and every tactic of a truly manipulative, selfish ex-lover.<\/p>\n
\n\tAbrams has said that she focused on portraying both parties\u2019 wrongdoings on the breakup-related songs on Daughter From Hell<\/em>, rather than \u201cpointing fingers\u201d like in her past music. The absence of that from most of the rest of the album makes \u201cDeath Wish\u201d \u2014 where the opposite person is clearly at fault \u2014 feel even more powerful.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cDaughter From Hell\u201d<\/h2>\n\n\n\tThe enveloping distorted guitar on Daughter From Hell<\/em>\u2018s title track sounds somewhat like Holly Humberstone\u2019s \u201cDeep End,\u201d which is fitting given how deeply Abrams digs into herself in the lyrics to pay tribute to her mother, Katie McGrath. Featuring one of the singer\u2019s best vocal performances to date, the gradually expanding track represents the vastness of Abrams\u2019 admiration for the woman who raised her and ends with a moving resolution to try to live up to her example: \u201cDaughter from Hell, but I came around\/ I\u2019ll try to become you now.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHit the Wall\u201d<\/h2>\n\n\n\tNot only does Daughter From Hell<\/em>\u2018s lead single hold strong as the best song from the album, but it also sounds even better with the context provided by the rest of the tracks. Though there aren\u2019t any overt narrative ties to its counterparts on \u201cHit the Wall,\u201d the song does encapsulate pretty much all of the themes that Abrams explores more in depth on each of the other tracks \u2014 ego death, overwhelm, identity, heartache \u2014 giving you an idea of what the sum of those parts looks like in terms of her overall state of mind.<\/p>\n\n\tMusically, the execution is some of her best work with longtime producer Aaron Dessner, dynamic and elastic. The high point of the song also isn\u2019t where you think it\u2019s going to be, with Abrams abruptly switching up the topline halfway through the second verse (\u201cWatch my blade ricochet<\/em>\u201c) in a way that sounds like gas being thrown on a fire, perfectly matching the chaos of the song\u2019s lyrics.<\/p>\n\n\tShe\u2019s said in the past \u2014 including in her 2025 Billboard <\/em>cover story \u2014 that she felt like she had nothing to say when starting on Daughter From Hell<\/em>, but this track in particular proves that she hasn\u2019t hit a wall yet in terms of how far she can explore as a musician.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.billboard.com\/lists\/gracie-abrams-daughter-from-hell-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/05\/gracie-abrams-press-cr-Julie-Greve-billboard-1800.jpg?w=1024″] Gracie Abrams is raising hell on her third studio album, which takes fans along with her as she crashes out, breaks down, contemplates the past and wrestles with the dreary state of the world, while also \u2014 despite everything else \u2014 finding a bit of domestic stability along the way. Daughter From […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2047512","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2047512","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2047512"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2047512\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2047512"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2047512"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2047512"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tIt\u2019s hard to pull off a song about how difficult it is to be famous and successful \u2014 not because it\u2019s so unbelievable that celebrities might struggle under such pressures, but simply because it\u2019s hard for a large majority of the population to relate. When a lot of people would gladly swap places with artists singing about how their lives aren\u2019t all they were cracked up to be, lines like \u201cI got what I wanted, it doesn\u2019t sit right,\u201d don\u2019t always reverberate.<\/p>\n
\n\tIt\u2019s a fun, well-written song that serves as a much-needed uptempo lift to balance out the slower-paced areas of the tracklist, but it doesn\u2019t do much to give a new perspective on life in the spotlight that people haven\u2019t heard time and time again \u2014 not like another song on the album does, at least. (More on that later).<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cSober\u201d<\/h2>\n\n\n\tOn \u201cSober,\u201d Abrams intriguingly plays with the concept of sobriety vs. intoxication as a way of conceptualizing being in a relationship with a specific person vs. not. It\u2019s a pretty song that could possibly have been even better with a little more specificity.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cGood Reason\u201d<\/h2>\n\n\n\t\u201cGood Reason\u201d calls back to some of the central themes on Good Riddance<\/em>, with Abrams reflecting on how she broke the heart of someone who felt more strongly about her than the other way around. She knows that sometimes it\u2019s this type of breakup that can be the most painful: when there isn\u2019t any particular \u201creason\u201d for it, and one person just isn\u2019t feeling it anymore.<\/p>\n\n\tInterestingly, Abrams later learns what it\u2019s like to be on the other side of the equation on songs like \u201cBroke My Heart\u201d and \u201cMews,\u201d where she becomes the person who\u2019s left in the dust.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBroke My Heart\u201d<\/h2>\n\n\n\tAbrams is one of pop\u2019s most poetic songwriters, and \u201cBroke My Heart\u201d is no exception \u2014 but the best parts on the song come when she throws in a straightforward, unembellished phrase that stands out more powerfully in contrast with her metaphors and imagery. \u201cI\u2019d rather get hit by a train than have to let go,\u201d she sings frankly at one point on this song, and, even more plainly at another, \u201cYou just broke my heart.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cWhat If It\u2019s Right?\u201d (feat. Marcus Mumford)<\/h2>\n\n\n\tAbrams and guest artist Marcus Mumford\u2019s voices sound gorgeous together as they play the parts of two lovers who are equally unsure about whether to call it quits on their relationship or not. They reflect back on their time together without seeming to realize that their dialogue is already starting to sound like a post-mortem, indicating that the relationship is already over, even if they don\u2019t realize it.<\/p>\n
\n\tOne thing is for sure, though: They\u2019re both to blame for the place they\u2019re at now. \u201cAin\u2019t it sad sharing this stage?\u201d the two stars sing.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cMen Like You\u201d<\/h2>\n\n\n\tWith an ever-ascending chorus and topsy-turvy string accents, \u201cMen Like You\u201d finds Abrams eviscerating a two-faced opportunist who took advantage of her by calling out some of the behaviors she recognizes from past encounters with smarmy men. In the last line of the chorus, however, she seemingly reveals that she\u2019s actually addressing a woman \u2014 \u201cGirl, I know men like you\u201d \u2014 somehow making the betrayal even worse.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cImaginary Friend\u201d<\/h2>\n\n\n\tWritten with boyfriend Paul Mescal, \u201cImaginary Friend\u201d puts a spin on the childhood concept of make-believe companions to instead refer to someone from Abrams\u2019 past, whose presence lives on in her mind despite it being years since she actually knew them intimately. \u201cYou don\u2019t know even half of what you\u2019re missing\/ I\u2019m cool now, if you even care,\u201d she sings in deceptively catchy melodies over mid-tempo acoustic guitar. \u201cDo you remember all the s\u2013t I broke? Well, I fixed it.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Knife\u201d<\/h2>\n\n\n\t\u201cThe Knife\u201d is written from the inevitable point of heartbreak where you\u2019re convinced the pain is going to last forever, in this case represented by a knife \u2014 which itself is a recurring symbol throughout Daughter From Hell <\/em>\u2014 stuck in Abrams\u2019 side that she refuses to pull out. This simple piano lament momentarily builds to the brink of a breaking point as harmonies, guitar and percussion intensify during the bridge, but she immediately pulls right back into the more reserved chorus before there\u2019s ever a true release \u2014 possibly representing her refusal to move on.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cMinibar\u201d<\/h2>\n\n\n\tReuniting with The Secret of Us<\/em> cowriter and childhood best friend Audrey Hobert, Abrams marks her most pop-forward moment on Daughter From Hell <\/em>with \u201cMinibar.\u201d Over happy drums and bright walls of harmonies, she sings of social awkwardness and feeling adrift in the confusing reality of being 20-something, unsure of whether her place is with the \u201cgirls and the gossipers\u201d or just by herself.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHumming\u201d<\/h2>\n\n\n\t\u201cHumming\u201d never crescendos louder than its title suggests, but it serves Abrams\u2019 point that even the smallest bit of noise can make a difference in a world so overrun with cruelty. Grappling with her role as a provider of light and community to her fans when so much suffering is taking place around them, she offers up some of her most poetic moments on the album on this quiet-but-mighty track.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCold Goodbyes\u201d<\/h2>\n\n\n\t\u201cCold Goodbyes\u201d seems to convey a more nuanced version of some of the feelings Abrams tried to explain on \u201cLook at My Life\u201d as she daydreams about ending her life in different senses of the phrase, concluding that she \u201cknow[s] better\u201d than to make any drastic exits. That doesn\u2019t stop her from feeling unmoored in her own body and station in life a lot of the time, which she shares in a way that feels a thousand times more honest, raw and relatable than most artists\u2019 attempts at lamenting the downsides of celebrity.<\/p>\n
\n\t\u201cLook at all of these people\/ Do I have to play tonight?\u201d she sings. \u201cUsed to know what landed well for me\/ But now it\u2019s hard to find.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cAfflictions\u201d<\/h2>\n\n\n\tAbrams told Olivia Rodrigo for Spotify that \u201cAfflictions\u201d is the one true love song on Daughter From Hell<\/em>, because she normally finds it difficult to write about the topic. \u201cWhen I\u2019ve tried to write about it before, it kind of diminishes what it actually feels like,\u201d she said at the time. \u201cBut that [song] is super real for me.\u201d<\/p>\n\n\tIt\u2019s easy to understand why she\u2019s so fond of the song once you hear how it moves at the same comfortable, easy pace Abrams sings about finding with her partner in their relationship. The lyrics are also poignant without being cliche as she describes a love forged through past bumps in the road caused and experienced by both parties: \u201cIt\u2019s the shape of your hands\/ Made me brave once again\/ You became where I land.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cMews\u201d<\/h2>\n\n\n\t\u201cMews\u201d comes from a place of acceptance, but one that took a long time to reach \u2014 and just because Abrams is there doesn\u2019t mean she\u2019s not still hurt. Each lyric tumbles out honestly, effortlessly and without any pretense over descending piano chords, like an inner monologue. She knows that the person who inspired it is too far away now to hear her after leaving without warning, but the words still come. <\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDeath Wish\u201d<\/h2>\n\n\n\tFans who are used to the live version of \u201cDeath Wish\u201d that Abrams recorded on tour and released in April 2025 should brace themselves for something that sounds entirely new, with the star picking up the pace and swapping out the mellow piano for fingerpicked guitar. But the lyrics still hold as some of her best as she deftly deconstructs each and every tactic of a truly manipulative, selfish ex-lover.<\/p>\n
\n\tAbrams has said that she focused on portraying both parties\u2019 wrongdoings on the breakup-related songs on Daughter From Hell<\/em>, rather than \u201cpointing fingers\u201d like in her past music. The absence of that from most of the rest of the album makes \u201cDeath Wish\u201d \u2014 where the opposite person is clearly at fault \u2014 feel even more powerful.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cDaughter From Hell\u201d<\/h2>\n\n\n\tThe enveloping distorted guitar on Daughter From Hell<\/em>\u2018s title track sounds somewhat like Holly Humberstone\u2019s \u201cDeep End,\u201d which is fitting given how deeply Abrams digs into herself in the lyrics to pay tribute to her mother, Katie McGrath. Featuring one of the singer\u2019s best vocal performances to date, the gradually expanding track represents the vastness of Abrams\u2019 admiration for the woman who raised her and ends with a moving resolution to try to live up to her example: \u201cDaughter from Hell, but I came around\/ I\u2019ll try to become you now.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHit the Wall\u201d<\/h2>\n\n\n\tNot only does Daughter From Hell<\/em>\u2018s lead single hold strong as the best song from the album, but it also sounds even better with the context provided by the rest of the tracks. Though there aren\u2019t any overt narrative ties to its counterparts on \u201cHit the Wall,\u201d the song does encapsulate pretty much all of the themes that Abrams explores more in depth on each of the other tracks \u2014 ego death, overwhelm, identity, heartache \u2014 giving you an idea of what the sum of those parts looks like in terms of her overall state of mind.<\/p>\n\n\tMusically, the execution is some of her best work with longtime producer Aaron Dessner, dynamic and elastic. The high point of the song also isn\u2019t where you think it\u2019s going to be, with Abrams abruptly switching up the topline halfway through the second verse (\u201cWatch my blade ricochet<\/em>\u201c) in a way that sounds like gas being thrown on a fire, perfectly matching the chaos of the song\u2019s lyrics.<\/p>\n\n\tShe\u2019s said in the past \u2014 including in her 2025 Billboard <\/em>cover story \u2014 that she felt like she had nothing to say when starting on Daughter From Hell<\/em>, but this track in particular proves that she hasn\u2019t hit a wall yet in terms of how far she can explore as a musician.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.billboard.com\/lists\/gracie-abrams-daughter-from-hell-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/05\/gracie-abrams-press-cr-Julie-Greve-billboard-1800.jpg?w=1024″] Gracie Abrams is raising hell on her third studio album, which takes fans along with her as she crashes out, breaks down, contemplates the past and wrestles with the dreary state of the world, while also \u2014 despite everything else \u2014 finding a bit of domestic stability along the way. Daughter From […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2047512","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2047512","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2047512"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2047512\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2047512"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2047512"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2047512"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tOn \u201cSober,\u201d Abrams intriguingly plays with the concept of sobriety vs. intoxication as a way of conceptualizing being in a relationship with a specific person vs. not. It\u2019s a pretty song that could possibly have been even better with a little more specificity.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cGood Reason\u201d<\/h2>\n\n\n\t\u201cGood Reason\u201d calls back to some of the central themes on Good Riddance<\/em>, with Abrams reflecting on how she broke the heart of someone who felt more strongly about her than the other way around. She knows that sometimes it\u2019s this type of breakup that can be the most painful: when there isn\u2019t any particular \u201creason\u201d for it, and one person just isn\u2019t feeling it anymore.<\/p>\n\n\tInterestingly, Abrams later learns what it\u2019s like to be on the other side of the equation on songs like \u201cBroke My Heart\u201d and \u201cMews,\u201d where she becomes the person who\u2019s left in the dust.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cBroke My Heart\u201d<\/h2>\n\n\n\tAbrams is one of pop\u2019s most poetic songwriters, and \u201cBroke My Heart\u201d is no exception \u2014 but the best parts on the song come when she throws in a straightforward, unembellished phrase that stands out more powerfully in contrast with her metaphors and imagery. \u201cI\u2019d rather get hit by a train than have to let go,\u201d she sings frankly at one point on this song, and, even more plainly at another, \u201cYou just broke my heart.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cWhat If It\u2019s Right?\u201d (feat. Marcus Mumford)<\/h2>\n\n\n\tAbrams and guest artist Marcus Mumford\u2019s voices sound gorgeous together as they play the parts of two lovers who are equally unsure about whether to call it quits on their relationship or not. They reflect back on their time together without seeming to realize that their dialogue is already starting to sound like a post-mortem, indicating that the relationship is already over, even if they don\u2019t realize it.<\/p>\n
\n\tOne thing is for sure, though: They\u2019re both to blame for the place they\u2019re at now. \u201cAin\u2019t it sad sharing this stage?\u201d the two stars sing.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cMen Like You\u201d<\/h2>\n\n\n\tWith an ever-ascending chorus and topsy-turvy string accents, \u201cMen Like You\u201d finds Abrams eviscerating a two-faced opportunist who took advantage of her by calling out some of the behaviors she recognizes from past encounters with smarmy men. In the last line of the chorus, however, she seemingly reveals that she\u2019s actually addressing a woman \u2014 \u201cGirl, I know men like you\u201d \u2014 somehow making the betrayal even worse.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cImaginary Friend\u201d<\/h2>\n\n\n\tWritten with boyfriend Paul Mescal, \u201cImaginary Friend\u201d puts a spin on the childhood concept of make-believe companions to instead refer to someone from Abrams\u2019 past, whose presence lives on in her mind despite it being years since she actually knew them intimately. \u201cYou don\u2019t know even half of what you\u2019re missing\/ I\u2019m cool now, if you even care,\u201d she sings in deceptively catchy melodies over mid-tempo acoustic guitar. \u201cDo you remember all the s\u2013t I broke? Well, I fixed it.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Knife\u201d<\/h2>\n\n\n\t\u201cThe Knife\u201d is written from the inevitable point of heartbreak where you\u2019re convinced the pain is going to last forever, in this case represented by a knife \u2014 which itself is a recurring symbol throughout Daughter From Hell <\/em>\u2014 stuck in Abrams\u2019 side that she refuses to pull out. This simple piano lament momentarily builds to the brink of a breaking point as harmonies, guitar and percussion intensify during the bridge, but she immediately pulls right back into the more reserved chorus before there\u2019s ever a true release \u2014 possibly representing her refusal to move on.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cMinibar\u201d<\/h2>\n\n\n\tReuniting with The Secret of Us<\/em> cowriter and childhood best friend Audrey Hobert, Abrams marks her most pop-forward moment on Daughter From Hell <\/em>with \u201cMinibar.\u201d Over happy drums and bright walls of harmonies, she sings of social awkwardness and feeling adrift in the confusing reality of being 20-something, unsure of whether her place is with the \u201cgirls and the gossipers\u201d or just by herself.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHumming\u201d<\/h2>\n\n\n\t\u201cHumming\u201d never crescendos louder than its title suggests, but it serves Abrams\u2019 point that even the smallest bit of noise can make a difference in a world so overrun with cruelty. Grappling with her role as a provider of light and community to her fans when so much suffering is taking place around them, she offers up some of her most poetic moments on the album on this quiet-but-mighty track.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cCold Goodbyes\u201d<\/h2>\n\n\n\t\u201cCold Goodbyes\u201d seems to convey a more nuanced version of some of the feelings Abrams tried to explain on \u201cLook at My Life\u201d as she daydreams about ending her life in different senses of the phrase, concluding that she \u201cknow[s] better\u201d than to make any drastic exits. That doesn\u2019t stop her from feeling unmoored in her own body and station in life a lot of the time, which she shares in a way that feels a thousand times more honest, raw and relatable than most artists\u2019 attempts at lamenting the downsides of celebrity.<\/p>\n
\n\t\u201cLook at all of these people\/ Do I have to play tonight?\u201d she sings. \u201cUsed to know what landed well for me\/ But now it\u2019s hard to find.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cAfflictions\u201d<\/h2>\n\n\n\tAbrams told Olivia Rodrigo for Spotify that \u201cAfflictions\u201d is the one true love song on Daughter From Hell<\/em>, because she normally finds it difficult to write about the topic. \u201cWhen I\u2019ve tried to write about it before, it kind of diminishes what it actually feels like,\u201d she said at the time. \u201cBut that [song] is super real for me.\u201d<\/p>\n\n\tIt\u2019s easy to understand why she\u2019s so fond of the song once you hear how it moves at the same comfortable, easy pace Abrams sings about finding with her partner in their relationship. The lyrics are also poignant without being cliche as she describes a love forged through past bumps in the road caused and experienced by both parties: \u201cIt\u2019s the shape of your hands\/ Made me brave once again\/ You became where I land.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cMews\u201d<\/h2>\n\n\n\t\u201cMews\u201d comes from a place of acceptance, but one that took a long time to reach \u2014 and just because Abrams is there doesn\u2019t mean she\u2019s not still hurt. Each lyric tumbles out honestly, effortlessly and without any pretense over descending piano chords, like an inner monologue. She knows that the person who inspired it is too far away now to hear her after leaving without warning, but the words still come. <\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cDeath Wish\u201d<\/h2>\n\n\n\tFans who are used to the live version of \u201cDeath Wish\u201d that Abrams recorded on tour and released in April 2025 should brace themselves for something that sounds entirely new, with the star picking up the pace and swapping out the mellow piano for fingerpicked guitar. But the lyrics still hold as some of her best as she deftly deconstructs each and every tactic of a truly manipulative, selfish ex-lover.<\/p>\n
\n\tAbrams has said that she focused on portraying both parties\u2019 wrongdoings on the breakup-related songs on Daughter From Hell<\/em>, rather than \u201cpointing fingers\u201d like in her past music. The absence of that from most of the rest of the album makes \u201cDeath Wish\u201d \u2014 where the opposite person is clearly at fault \u2014 feel even more powerful.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cDaughter From Hell\u201d<\/h2>\n\n\n\tThe enveloping distorted guitar on Daughter From Hell<\/em>\u2018s title track sounds somewhat like Holly Humberstone\u2019s \u201cDeep End,\u201d which is fitting given how deeply Abrams digs into herself in the lyrics to pay tribute to her mother, Katie McGrath. Featuring one of the singer\u2019s best vocal performances to date, the gradually expanding track represents the vastness of Abrams\u2019 admiration for the woman who raised her and ends with a moving resolution to try to live up to her example: \u201cDaughter from Hell, but I came around\/ I\u2019ll try to become you now.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cHit the Wall\u201d<\/h2>\n\n\n\tNot only does Daughter From Hell<\/em>\u2018s lead single hold strong as the best song from the album, but it also sounds even better with the context provided by the rest of the tracks. Though there aren\u2019t any overt narrative ties to its counterparts on \u201cHit the Wall,\u201d the song does encapsulate pretty much all of the themes that Abrams explores more in depth on each of the other tracks \u2014 ego death, overwhelm, identity, heartache \u2014 giving you an idea of what the sum of those parts looks like in terms of her overall state of mind.<\/p>\n\n\tMusically, the execution is some of her best work with longtime producer Aaron Dessner, dynamic and elastic. The high point of the song also isn\u2019t where you think it\u2019s going to be, with Abrams abruptly switching up the topline halfway through the second verse (\u201cWatch my blade ricochet<\/em>\u201c) in a way that sounds like gas being thrown on a fire, perfectly matching the chaos of the song\u2019s lyrics.<\/p>\n\n\tShe\u2019s said in the past \u2014 including in her 2025 Billboard <\/em>cover story \u2014 that she felt like she had nothing to say when starting on Daughter From Hell<\/em>, but this track in particular proves that she hasn\u2019t hit a wall yet in terms of how far she can explore as a musician.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.billboard.com\/lists\/gracie-abrams-daughter-from-hell-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/05\/gracie-abrams-press-cr-Julie-Greve-billboard-1800.jpg?w=1024″] Gracie Abrams is raising hell on her third studio album, which takes fans along with her as she crashes out, breaks down, contemplates the past and wrestles with the dreary state of the world, while also \u2014 despite everything else \u2014 finding a bit of domestic stability along the way. Daughter From […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2047512","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2047512","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2047512"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2047512\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2047512"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2047512"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2047512"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\t\u201cGood Reason\u201d calls back to some of the central themes on Good Riddance<\/em>, with Abrams reflecting on how she broke the heart of someone who felt more strongly about her than the other way around. She knows that sometimes it\u2019s this type of breakup that can be the most painful: when there isn\u2019t any particular \u201creason\u201d for it, and one person just isn\u2019t feeling it anymore.<\/p>\n \n\tInterestingly, Abrams later learns what it\u2019s like to be on the other side of the equation on songs like \u201cBroke My Heart\u201d and \u201cMews,\u201d where she becomes the person who\u2019s left in the dust.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tAbrams is one of pop\u2019s most poetic songwriters, and \u201cBroke My Heart\u201d is no exception \u2014 but the best parts on the song come when she throws in a straightforward, unembellished phrase that stands out more powerfully in contrast with her metaphors and imagery. \u201cI\u2019d rather get hit by a train than have to let go,\u201d she sings frankly at one point on this song, and, even more plainly at another, \u201cYou just broke my heart.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tAbrams and guest artist Marcus Mumford\u2019s voices sound gorgeous together as they play the parts of two lovers who are equally unsure about whether to call it quits on their relationship or not. They reflect back on their time together without seeming to realize that their dialogue is already starting to sound like a post-mortem, indicating that the relationship is already over, even if they don\u2019t realize it.<\/p>\n \n\tOne thing is for sure, though: They\u2019re both to blame for the place they\u2019re at now. \u201cAin\u2019t it sad sharing this stage?\u201d the two stars sing.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tWith an ever-ascending chorus and topsy-turvy string accents, \u201cMen Like You\u201d finds Abrams eviscerating a two-faced opportunist who took advantage of her by calling out some of the behaviors she recognizes from past encounters with smarmy men. In the last line of the chorus, however, she seemingly reveals that she\u2019s actually addressing a woman \u2014 \u201cGirl, I know men like you\u201d \u2014 somehow making the betrayal even worse.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tWritten with boyfriend Paul Mescal, \u201cImaginary Friend\u201d puts a spin on the childhood concept of make-believe companions to instead refer to someone from Abrams\u2019 past, whose presence lives on in her mind despite it being years since she actually knew them intimately. \u201cYou don\u2019t know even half of what you\u2019re missing\/ I\u2019m cool now, if you even care,\u201d she sings in deceptively catchy melodies over mid-tempo acoustic guitar. \u201cDo you remember all the s\u2013t I broke? Well, I fixed it.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\t\u201cThe Knife\u201d is written from the inevitable point of heartbreak where you\u2019re convinced the pain is going to last forever, in this case represented by a knife \u2014 which itself is a recurring symbol throughout Daughter From Hell <\/em>\u2014 stuck in Abrams\u2019 side that she refuses to pull out. This simple piano lament momentarily builds to the brink of a breaking point as harmonies, guitar and percussion intensify during the bridge, but she immediately pulls right back into the more reserved chorus before there\u2019s ever a true release \u2014 possibly representing her refusal to move on.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tReuniting with The Secret of Us<\/em> cowriter and childhood best friend Audrey Hobert, Abrams marks her most pop-forward moment on Daughter From Hell <\/em>with \u201cMinibar.\u201d Over happy drums and bright walls of harmonies, she sings of social awkwardness and feeling adrift in the confusing reality of being 20-something, unsure of whether her place is with the \u201cgirls and the gossipers\u201d or just by herself.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\t\u201cHumming\u201d never crescendos louder than its title suggests, but it serves Abrams\u2019 point that even the smallest bit of noise can make a difference in a world so overrun with cruelty. Grappling with her role as a provider of light and community to her fans when so much suffering is taking place around them, she offers up some of her most poetic moments on the album on this quiet-but-mighty track.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\t\u201cCold Goodbyes\u201d seems to convey a more nuanced version of some of the feelings Abrams tried to explain on \u201cLook at My Life\u201d as she daydreams about ending her life in different senses of the phrase, concluding that she \u201cknow[s] better\u201d than to make any drastic exits. That doesn\u2019t stop her from feeling unmoored in her own body and station in life a lot of the time, which she shares in a way that feels a thousand times more honest, raw and relatable than most artists\u2019 attempts at lamenting the downsides of celebrity.<\/p>\n \n\t\u201cLook at all of these people\/ Do I have to play tonight?\u201d she sings. \u201cUsed to know what landed well for me\/ But now it\u2019s hard to find.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tAbrams told Olivia Rodrigo for Spotify that \u201cAfflictions\u201d is the one true love song on Daughter From Hell<\/em>, because she normally finds it difficult to write about the topic. \u201cWhen I\u2019ve tried to write about it before, it kind of diminishes what it actually feels like,\u201d she said at the time. \u201cBut that [song] is super real for me.\u201d<\/p>\n \n\tIt\u2019s easy to understand why she\u2019s so fond of the song once you hear how it moves at the same comfortable, easy pace Abrams sings about finding with her partner in their relationship. The lyrics are also poignant without being cliche as she describes a love forged through past bumps in the road caused and experienced by both parties: \u201cIt\u2019s the shape of your hands\/ Made me brave once again\/ You became where I land.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\t\u201cMews\u201d comes from a place of acceptance, but one that took a long time to reach \u2014 and just because Abrams is there doesn\u2019t mean she\u2019s not still hurt. Each lyric tumbles out honestly, effortlessly and without any pretense over descending piano chords, like an inner monologue. She knows that the person who inspired it is too far away now to hear her after leaving without warning, but the words still come. <\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tFans who are used to the live version of \u201cDeath Wish\u201d that Abrams recorded on tour and released in April 2025 should brace themselves for something that sounds entirely new, with the star picking up the pace and swapping out the mellow piano for fingerpicked guitar. But the lyrics still hold as some of her best as she deftly deconstructs each and every tactic of a truly manipulative, selfish ex-lover.<\/p>\n \n\tAbrams has said that she focused on portraying both parties\u2019 wrongdoings on the breakup-related songs on Daughter From Hell<\/em>, rather than \u201cpointing fingers\u201d like in her past music. The absence of that from most of the rest of the album makes \u201cDeath Wish\u201d \u2014 where the opposite person is clearly at fault \u2014 feel even more powerful.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tThe enveloping distorted guitar on Daughter From Hell<\/em>\u2018s title track sounds somewhat like Holly Humberstone\u2019s \u201cDeep End,\u201d which is fitting given how deeply Abrams digs into herself in the lyrics to pay tribute to her mother, Katie McGrath. Featuring one of the singer\u2019s best vocal performances to date, the gradually expanding track represents the vastness of Abrams\u2019 admiration for the woman who raised her and ends with a moving resolution to try to live up to her example: \u201cDaughter from Hell, but I came around\/ I\u2019ll try to become you now.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tNot only does Daughter From Hell<\/em>\u2018s lead single hold strong as the best song from the album, but it also sounds even better with the context provided by the rest of the tracks. Though there aren\u2019t any overt narrative ties to its counterparts on \u201cHit the Wall,\u201d the song does encapsulate pretty much all of the themes that Abrams explores more in depth on each of the other tracks \u2014 ego death, overwhelm, identity, heartache \u2014 giving you an idea of what the sum of those parts looks like in terms of her overall state of mind.<\/p>\n \n\tMusically, the execution is some of her best work with longtime producer Aaron Dessner, dynamic and elastic. The high point of the song also isn\u2019t where you think it\u2019s going to be, with Abrams abruptly switching up the topline halfway through the second verse (\u201cWatch my blade ricochet<\/em>\u201c) in a way that sounds like gas being thrown on a fire, perfectly matching the chaos of the song\u2019s lyrics.<\/p>\n \n\tShe\u2019s said in the past \u2014 including in her 2025 Billboard <\/em>cover story \u2014 that she felt like she had nothing to say when starting on Daughter From Hell<\/em>, but this track in particular proves that she hasn\u2019t hit a wall yet in terms of how far she can explore as a musician.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [analyse_source url=”https:\/\/www.billboard.com\/lists\/gracie-abrams-daughter-from-hell-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/05\/gracie-abrams-press-cr-Julie-Greve-billboard-1800.jpg?w=1024″] Gracie Abrams is raising hell on her third studio album, which takes fans along with her as she crashes out, breaks down, contemplates the past and wrestles with the dreary state of the world, while also \u2014 despite everything else \u2014 finding a bit of domestic stability along the way. Daughter From […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2047512","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2047512","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2047512"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2047512\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2047512"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2047512"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2047512"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u201cBroke My Heart\u201d<\/h2>\n
\u201cWhat If It\u2019s Right?\u201d (feat. Marcus Mumford)<\/h2>\n
\u201cMen Like You\u201d<\/h2>\n
\u201cImaginary Friend\u201d<\/h2>\n
\u201cThe Knife\u201d<\/h2>\n
\u201cMinibar\u201d<\/h2>\n
\u201cHumming\u201d<\/h2>\n
\u201cCold Goodbyes\u201d<\/h2>\n
\u201cAfflictions\u201d<\/h2>\n
\u201cMews\u201d<\/h2>\n
\u201cDeath Wish\u201d<\/h2>\n
\u201cDaughter From Hell\u201d<\/h2>\n
\u201cHit the Wall\u201d<\/h2>\n