Posted on December 28, 2023
TW: Mentions of depression, suicidal ideation, and unspecified trauma.
This year, with the help of Phenelzine, I fell in love with music again, which has brought me so much joy. It did, of course, also make it even harder than previous years to narrow down the songs for this list. In an earlier post, I wrote this: “It’s so easy for time to make things blurry and for songs to transcend time that I love being able to see exactly when songs impacted my life and what they meant to me. I kind of love the idea of looking back one day – sometime in the future – and knowing which exact songs I connected to, rather than just having a vague sense of which artists and albums I loved.” I still really relate to it and it felt appropriate after what feels like so much time lost in the haze of my depression over the last couple of years when I wasn’t really listening to music at all. But, as I said, things have been getting better and I’ve been able to connect with music again, to enjoy it; I’m not sure if I can express how grateful I am for that. I’ve missed it so much.
So, this is my playlist for 2023. I’ve made a corresponding playlist on Spotify so you can listen along if you’d like to – you can find it here.
1. She Used To Be Mine by Sara Bareilles
The new year began as the last one ended, with the feeling that I was suffocating under the weight of my depression. As last year’s post shows, I don’t really listen to music when I feel like this but Sara Bareilles is the one artist that can get through the fog; the one artist that I can listen to pain-free. ‘She Used To Be Mine’ came on (it’s a gorgeous song and Sara has the most incredible voice) and after this awful year (and change) I’ve had, the title lyric in particular – “she is gone but she used to be mine” – resonates so strongly. The person I was before all of this… I don’t feel like she’s mine anymore. I remember her but who I was then and who I am now are not the same people. Sometimes I think she might be gone.
Favourite Lyrics: “She’s imperfect but she tries / She is good but she lies / She is hard on herself / She is broken and won’t ask for help / She is messy but she’s kind / She is lonely most of the time / She is all of this mixed up / And baked in a beautiful pie / She is gone but she used to be mine” AND “It’s not what I asked for / Sometimes life just slips in through a back door / And carves out a person / And makes you believe it’s all true” AND “And you’re not what I asked for / If I’m honest I know I would give it all back / For a chance to start over / And rewrite an ending or two / For the girl that I knew” (but honestly the whole song is stunning).
2. Mountain With A View by Kelsea Ballerini
I love this whole EP so much that it was honestly really, really hard to choose just one song. ‘Blindsided’ and ‘Interlude’ rank very high up on my list but I think my absolute favourite has to be ‘Mountain With A View.’ I love the production – it creates such a gorgeous atmosphere, perfect for opening the project – and the soundscapes wrapped in it, the storm in the background giving it a heavy feeling but one that will eventually break and clear. Kelsea’s voice sounds incredible, gorgeous and warm and intimate, something that makes me feel like, as the listener, we are being let into her world and her heart in a way that we haven’t before. The melodies feel effortless, as if guided completely by the emotion, like a river moving through a landscape to the sea. The lyrics are delicate and vulnerable, with visceral (but beautiful) imagery and metaphors smoothly twisted together, like: “I’m wearin’ the ring still, but I think I’m lyin’ / Sometimes you forget yours, I think we’re done tryin'” and “I’ve shared all my secrets and I’ve paid for all my crimes / And our stars ain’t fallin’ back in line” and “I think that this is when I cut the ties / I think that this is when I set myself free / One day you’ll ask, ‘When was it over for you?’ // I’m takin’ the ring off, I’m finally cryin’ / Don’t try to find yours, no reason to fight it.” A heartbreaking detail is how she seems to become more and more certain of what she feels she has to do throughout the song, the lyrics shifting from “I should be missing you” and “I think we’re done trying” to “I can’t handle another year of you and I just bein’ fine” to “I’m taking the ring off, I’m finally crying” and “Don’t try to find yours, no reason to fight it.” That last chorus-bridge-chorus is just so heartbreaking as it all breaks down, as she accepts the end and the consequences of making that decision. My favourite lyric of the song, even if it makes my chest hurt (especially because of how Kelsea has talked about how painful her parents’ divorce was for her, how much it affected her), is “You’ll say I’m crazy for bein’ the one to leave / Scream, I’m just like my parents and givin’ up easy.” It’s so sad: if you love someone, it’s just so cruel to throw something like that in their face, something that you know will hurt so much. Including that in the song just feels so vulnerable and I’m touched by fact that she’s trusting us – her listeners – with something so personal and painful. I think it’s ultimately this openness and trust in her audience that makes this body of work so strong. Of all of her projects, this EP is easily my favourite so far and I doubt I’m alone in saying that it’s the best work she has produced to date.
(I also think it’s worth noting that the obvious title for this song, given the hook, is ‘Over For Me,’ which would’ve been a neat and petty match for Morgan Evans’ single, ‘Over For You.’ We know from interviews how angry that song made Kelsea, especially given that he released it before they were even officially divorced, so it would’ve been easy to be juvenile and use it to strike back at him but because she’s mature and sensitive and thoughtful about her art, she knew it was important for the art to stand on its own: to be about her experience and her feelings. It was always going to generate a certain level of gossip because they were a fairly public, celebrity couple but as far as I can tell she’s done a really good job of telling her story without feeding the gossip machine any more than absolutely necessary.)
Favourite Lyrics: “I’m wearin’ the ring still, but I think I’m lyin’ / Sometimes you forget yours, I think we’re done tryin’ / I realize you loved me much more at twenty-three / I think that this is when it’s over for me” AND “I’ve shared all my secrets and I’ve paid for all my crimes / And our stars ain’t fallin’ back in line” AND “I think that this is when I cut the tie loose / I think that this is when I set myself free / One day you’ll ask, ‘When was it over for you?’ // I’m takin’ the ring off, I’m finally cryin’ / Don’t try to find yours, no reason to fight it / You’ll say I’m crazy for bein’ the one to leave // Scream I’m just like my parents and givin’ up easy / But you never took that last flight to see me / Looks like our ending ain’t endin’ happily / I think that this is when it’s over for me”
3. SUBJECT TO CHANGE by Kelsea Ballerini // Let It Be Love by The Six One Five Collective
March was a month of really serious change so ‘SUBJECT TO CHANGE’ seemed like a very appropriate song to find myself obsessively listening to. After seeing Kelsea Ballerini live at the end of February, this song was just playing on a loop in my head; the song is just so fun and the melody is kind of intoxicating in how addictive it is. I can play it over and over for hours and be having just as good a time on the hundredth listen as I was on the first. From the lyrics to the melody to the production, it’s catchy and effervescent and uplifting, and I felt the joy trying to get in (even if I wasn’t ready for it yet).
My favourite part of the song is the second verse and pre-chorus. The verse feels so true to my life experience and it just resonates so deeply. As much as I love it though, the pre-chorus just gets me every time: “Thank God, I don’t know about tomorrow / Thank God, I take it day by day / Oh, I don’t think about the chapters / It’s all about turning the page.” It’s something that I really struggle with – trying to predict the future and act according to that imagined future – so those lyrics really speak to me and the way Kelsea sings them just warms my heart, like maybe I won’t always feel this way.
Favourite Lyrics: “If I’m honest / Growing up, it kind of hurts like hell / It’s chaotic, ironic / But it’s how I learn to find myself, yeah // Thank God, I don’t know about tomorrow / Thank God, I take it day by day / Oh, I don’t think about the chapters / It’s all about turning the page”
I heard Michael Logen play this brand new song at Tin Pan South in Nashville and I was in love with it by the end of the first chorus; it was so warm and hopeful and beautiful. The lyrics and melody were just gorgeous and the message of always, always coming back to love was so moving. And hearing the whole room sing the chorus – “Let it be love, love, love” – was an almost spiritual experience. I could’ve cried; it was such a beautiful, meaningful song. My depression still had its claws buried in me but I was starting to feel like connection might be possible again, that making music might be possible again. That’s what songs like this, what Nashville, gave me.
Favourite Lyrics: “If there’s only one thing that I’m known for / Just one legacy I leave behind / Just one word written over my hearthstone / Just one lesson I’ve learned in this life // Let it be love, love, love” AND “If it’s only one kingdom we’re building / Just one future we’re falling into / … // Let it be love, love, love” AND “Let it be love that holds us / Love that moulds us / Let it be love by which we are known / Let it be love that sees us / Love that frees us / Let it be love that leads us back home”
4. Too Much Of A Good Thing by Madeline Edwards // Lost The Breakup by Maisie Peters
I love Madeline Edwards’ album, Crashlanded, having being introduced to it and its stories when I heard her perform most of the songs at a round at Tin Pan South in Nashville. I loved it on the spot – the lyrics, the metaphors, the melodies, her voice, and then (later) the production – and I listened to it on repeat without a break for weeks. There are multiple songs that I absolutely adore – and could’ve happily chosen for this list – but it’s the last song, ‘Too Much Of A Good Thing,’ that speaks to me the most: it explores the idea that maybe good things can last, that they don’t have to run their course and come to an end as we’ve always been taught to expect (‘you can have too much of a good thing’ and ‘you can only have so much of a good thing’ and so on). She talked about how much that idea had impacted her life and how trying to have faith in the opposite, in the idea that good things can last, has helped her and enabled her to be present in the good when it’s happening. This is something that I really struggle with so this song really resonates with me and the more I listen to it, the more emotional it makes me. It’s simple and sweet, allowing you to focus on her voice, which is incredible, and the lyrics, which are poignant and uplifting.
Favourite Lyrics: “Well, life don’t always work like that / And hearts don’t have to break / And God don’t give to take it back / And dreams don’t have to fade / You can fly too close to the sun / And never melt your wings / And you can’t have too much of a good thing” AND “What if the love you want is the love you find?” AND “What if fear turns into scared of nothing? / You don’t have to let go of what you always wanted”
I think that the best pop songs are made up of catchy melodies, great lyrics that succinctly tell the story, and choruses that drive the point home. This song has all of those things and more. The verses give us the details of the story, of the break up; the prechoruses tee us up for the chorus while making her feelings for this guy scathingly clear; the choruses give us the biggest, most important pieces of the story without sacrificing the lyrical content or quality; and the bridge delivers a fun twist where, instead of winning the break up through revenge or spitefulness, she wins through getting over him and moving on with her life. I really love that narrative. I mean, I love a good revenge song but it’s really cool to have this different, more mature message, wrapped up in a fun pop song. The melodies are instant ear worms and the production pushes and pulls beautifully, the energy rising and falling in a way that carries you along effortlessly. It’s so much fun to sing along to and the hook – “oh, shit!” – is absolutely irresistible. It is quite possibly the most fun I’ve had listening to a song in a really long time. After struggling to feel joy for so long – to even remember what joy might feel like – it’s been beyond amazing to have so much fun listening to music again.
Favourite Lyrics: “I know I’m obsessed and / Right now, I might be a mess but / One day, you’re gonna wake up / And, oh shit, you lost the breakup / I’ll smile and you’ll have to face it / I’m the greatest love that you wasted / But, by then, I’ll be far away / And, oh shit, you lost the breakup” AND “But for now, I’m out in the dust / Falling apart / Oh, is she just like me? Yeah, I reckon / You got two types, Country and Western” AND “So, I’m feeling and I’m dealing with the heart you broke / While you do press-ups and repress us and take off her clothes / Here’s something if nothing else is still true / I’m the best thing that almost happened to you” AND “…and you’ll say / ‘Wow, hey, it’s been forever / Do you wanna get a drink, like together?’ / I say, ‘I’m kinda busy but, like, stay in touch?’ / I think, ‘oh shit, I won the breakup'”
5. Lie Better by Cassidy Daniels // Happy by Kesha
I fell in love with this song from the very first listen. Between the warm and emotive instrumentation, Cassidy’s gorgeous voice, and the lyrics – one heartbreaking punch in the gut after another – I was obsessed and listened to it on repeat, telling pretty much everyone I knew about this lyric or that one. The delicate acoustic guitar is absolutely perfect to represent that fragility of trying to hold yourself together after something has completely wrecked you and Cassidy has this beautiful, highly versatile voice, making her able to convey the heartbreak with such emotion. Hearing her like this was so moving to me because I’ve only really heard her sing really powerfully, an incredible belt that just filled the room, so it was really lovely to hear the other end of that spectrum, to hear her voice soft and vulnerable. The lyrics are – as usual – my favourite part and they are so fucking good. It’s really inspiring as a songwriter. The rhyming is so natural, especially in the bridge: “Wish you could lie better / Wishing that I never / Saw your true colours, wish you didn’t love her, wish you would’ve covered / Your lie better / Wish you could lie, lie better.” And the way she puts the universal experiences of those kinds of life changing moments – “I remember the day before the day I knew / When my forever was still forever with you,” for example – feels so organic but so deeply, painfully accurate. The whole song just sounds so real, like it just all spilled out in a moment of intense emotion.
Favourite Lyrics: “They say, ‘Ignorance is bliss’ / I guess it’s true, ’cause it’s gotta be better than this” AND “Wish you could lie better / Wishing that I never / Saw your true colours, wish you didn’t love her, wish you would’ve covered / Your lie better / Wish you could lie, lie better” AND “I remember the day before the day I knew / When my forever was still forever with you / I’d give anything to just go back / But a heart can’t forget when a heart attacks”
This song is so interesting to me, both following ‘Hate Me Harder’ and closing the album. And, of course, it’s gorgeous in its simplicity and vulnerability. The stripped back guitar really allows both Kesha’s voice and her lyrics to shine and they really do, closing out the album and this chapter of her life – this is the last album on her contract with her current label – on a very poignant note. I can understand why it’s (apparently) one of her favourites on the album. The song explores how her perspective has changed over time, how finding happiness has become her priority over everything else, a tough job for anyone but something that must feel like a particularly significant aspiration after everything she’s gone through in her life and career (most of which has been in the harsh light of the public eye): “If you asked me then where I wanted to be / It’d look something like this, living out my wildest of dreams / But life sometimes ain’t always what it seems / If you ask me now / All I’ve wanted to be / Is happy.” Having said that though, I found it very relatable…
The contrast between this song and ‘Hate Me Harder’ get me every single time. In ‘Hate Me Harder,’ she sings, “There’s nothing left that I haven’t heard / And I can take it, so make it hurt” and “Again and again and again and again, I’ll keep saying it over again / I’ve been there, I’ve done it, I’ve lived it, I’ve fucked it, I’d do it all over again / I’ll take it, I’ll take it, I’ll take it, I’ll take it, I already know that I can / Already know I can” but then, in ‘Happy,’ she sings, “What if none of this happened? / It’s nothing like I imagined it / […] / What if it all just went different?” and “There’s so many things I’d change but I can’t.” The two different points of view mirroring each other is just gut-wrenching, especially considering they are both delivered in such raw, vulnerable songs. When I listen to them, I think of ‘Hate Me Harder’ as the version of herself that she presents to the world, not a lie or a mask but just not her whole self, and then ‘Happy’ is the soft and vulnerable heart that she keeps protected from the world but chose to share with us on this track, on this album. Again, it’s not her whole self but it’s a really important part, especially when telling this chapter of her story. (It fascinates me how much we can learn about an artist from their albums – and discographies – which is why it makes me so angry and just heartbroken that the music industry is making it is so incredibly difficult for people to release them. Albums give you this beautiful chance to get to know an artist, to fall in love with them and become invested in them in a way that singles just can’t. Okay, tangent over. For now.) And that honesty and vulnerability, combined with the stripped down sound to let the lyrics take centre stage is why it is, in my opinion, the perfect closing track for the album and such a beautiful song.
Favourite Lyrics: “What if none of this happened? / It’s nothing like I imagined it / What if I wasn’t this strong? / What if it all just went different?” AND “Time’s passing me by / Gotta just laugh so I don’t cry” AND “I remember when I was little / Before I knew that anyone could be evil / These egos, some people, playing with my innocence like at a casino” AND “Time’s passing me by / Gotta just laugh so I don’t die”
Honourable mention to ‘Pathetic’ by Nick Wilson and both ‘We’re Not Friends’ and ‘Both’ by Ingrid Andress (I love her new album, Good Person, but these two songs have been really in my head because they’re just so good), both of whom I listened to a lot and saw live in May. They are amazing and the show was fantastic.
6. You’re Losing Me by Taylor Swift // Nervous System by Candi Carpenter
This song came out at the end of May and I’ve basically had it on repeat ever since even though it’s so gut-wrenchingly sad. At the time, we all thought it was a response to the breakup with Joe but clearly that relationship was much more complicated than we knew since Jack Antonoff revealed that it was written in December 2021. But anyway. The song is clearly about agonising over whether or not to end a relationship and the imagery she uses to depict that pain is beautiful, if deeply sad: “Remember lookin’ at this room, we loved it ’cause of the light / Now I just sit in the dark and wonder if it’s time,” “I sent you signals and bit my nails down to the quick / My face was gray, but you wouldn’t admit that we were sick,” “And the air is thick with loss and indecision / I know my pain is such an imposition,” etc. You can see those moments; it’s like you’re living them with her. You can feel her resignation, her exhaustion, the heaviness, the anger… She conveys the emotions so clearly, so smoothly; her writing skill is beyond incredible. The chorus is sparse and simple – “Stop, you’re losin’ me / Stop, you’re losin’ me / Stop, you’re losin’ me / I can’t find a pulse / My heart won’t start anymore / For you / ‘Cause you’re losin’ me” – but with the wordiness of the song, I think this only makes it more impactful, conveying the metaphor of the song more powerfully than a busier chorus would. The bridge is a stellar Swift-Antonoff classic that just keeps building and building until the emotion pours out like a waterfall. She questions how long they can go on in this unhappy state – “How long could we be a sad song / ‘Til we were too far gone to bring back to life? / I gave you all my best me’s, my endless empathy” – how she gave him everything, referencing military imagery, a heartbreaking throwback to ‘The Great War,’ a conflict that they managed to survive – “And all I did was bleed as I tried to be the bravest soldier / Fighting in only your army / Frontlines, don’t you ignore me.” She’s “the best thing at this party” but he still doesn’t seem to want her: “And I wouldn’t marry me either / A pathological people pleaser / Who only wanted you to see her.” Those lyrics always reminds me of ‘All Too Well (10 Minute Version) [From the Vault]’ and how she felt similarly unseen and misunderstood in that relationship: “The idea you had of me, who was she? / A never-needy, ever-lovely jewel whose shine reflects on you.” These specific phrases feel so personal, like someone knew exactly where to hit to make it hurt most; it’s heartbreaking. The final part of the bridge is so heart-wrenching, and all the more heart-wrenching for its simplicity: “And I’m fadin’, thinkin’ / Do something, babe, say something / Lose something, babe, risk something / Choose something, babe, I got nothing / To believe / Unless you’re choosin’ me / You’re losin’ me.” I swear it’s impossible not to scream along. The internal rhymes are so pleasing to the ear and I love the way the final “You’re losin’ me” fits into both the end of the bridge and the beginning of the final chorus. Production-wise, I love pretty much everything that Taylor and Jack do together but this isn’t one of my favourites; it’s poignant and atmospheric but, to my ears, it feels a little unfinished. I’d love to hear what it sounded like with production more in the vein of ‘The Great War’ or ‘Would’ve, Could’ve, Should’ve’ (although with a sparser arrangement).
Favourite Lyrics: “Remember looking at this room, we loved it ’cause of the light / Now I just sit in the dark and wonder if it’s time” AND “Stop, you’re losing me / I can’t find a pulse / My heart won’t start anymore / For you / ‘Cause you’re losing me” AND “I sent you signals and bit my nails down to the quick / My face was grey but you wouldn’t admit that we were sick // And the air is thick with loss and indecision / I know my pain is such an imposition” AND “And I wouldn’t marry me either / A pathological people-pleaser / Who only wanted you to see her” AND “Do something, babe, say something / Lose something, babe, risk something / Choose something, babe, I got nothing / To believe, unless you’re choosing me / You’re losing me”
I love Candi Carpenter and I could’ve chosen several from their EP for this slot; I relate so hard to multiple songs, in emotion if not always literally. But there’s something about ‘Nervous System’ – I think it’s because I just find it so relatable. I’m sorry but there is no lyric so relatable to me as the second verse of this song: “They say that life’s a party but I’ve always hated parties / I imagine a car wreck every time I touch my car keys / I don’t want to go anywhere / I’m a temperamental houseplant / Dehydrated, full of hatred / Cat hair on my sweatpants // When I check the CAPTCHA box that says I’m not a robot / I’m lying to myself and I’m lying to my laptop.” It’s just so hilariously me. And the choruses, both the original – “I have a nervous system / I’m nervous all time / I’m a lot like Hannibal, I’m just a cannibal / Eating myself alive / I have a nervous system” – and the extended final chorus – “These are fancy words // For my nervous system / I’m sorry it’s not more organised / It’s business as usual / I’m biting my cuticles / Literally eating myself alive / I have a nervous system / I’m nervous all time / I’m a lot like Hannibal, I’m just a cannibal / Eating myself alive / I have a nervous system” – are very me. The lyric-writing is so good, relatable and hilarious and whip-smart and the melody and rhyme-scheme make it such a satisfying song to listen to (and scream along to in the car). The production is so cool and so fun and Candi uses their voice with such skill: it’s so expressive and brings so much emotion… and just life to every track.
Favourite Lyrics: “I have a nervous system / I’m nervous all the time / I’m a lot like Hannibal / I’m just a cannibal / Eating myself alive / I have a nervous system” AND “I don’t want to go anywhere / I’m a temperamental houseplant / Dehydrated, full of hatred / Cat hair on my sweatpants” AND “When I check the CAPTCHA box that says I’m not a robot / I’m lying to myself and I’m lying to my laptop / I don’t wanna hand this down, I’m afraid to reproduce / I wonder if Sigmund Freud turned into his dad too” AND “These are fancy words // For my nervous system / I’m sorry it’s not more organised / It’s business as usual / I’m biting my cuticles / Literally eating myself alive / I have a nervous system”
7. History of Man by Maisie Peters // Castles Crumbling (Taylor’s Version) (From The Vault) by Taylor Swift
It’s safe to say that I’m obsessed with this album. It was so hard to choose just one to include here but the closer, ‘History of Man,’ is so powerful that I need to write about it. I love the muted production and the way it builds throughout the song but the lyrics are what really stand out (and I learned later that she wrote a lot of it just sitting at a piano, having decided not to write a song). There’s a lot in it but she seems to be telling the story of how, as hard as she tried, she couldn’t break the cycle of heartbreak that is as old as man itself; even pleading with the gods, that cycle can never be broken or rewritten. Before its release, she also described it like this: “This song is about so many things it’s hard to even distill into a tarot card paragraph. It’s about the power I feel as a songwriter, and the deep true magic I believe exists within love, even when that love has been lost. I wanted it to be the album closer because it encapsulates a lot of the themes I explore within [The Good Witch], but also because it sums up a large part of the feminine experience as I have felt it. This song feels deep and complex and important, like something bigger than me perhaps.” Throughout the song, she references history, mythology, bible stories, and symbolism to describe the break up of a relationship and the realisation that this story is so much older and bigger than she is, that hers is just the latest in an endless cycle. In the first verse, she establishes just how old love and heartbreak are and how, people have been falling in and out of love for as long as people have existed, through the biggest and smallest days in history: “Tale as old as honey / A moment everybody knows / Yeah, I’m sure there was heartbreak / Inside the walls of Jericho.” At the same time, she introduces her story, asking how her partner could just fall out of love with her, how he could hurt her so badly having loved her so much: “I couldn’t believe it / How you could just stop wanting me? / You burnt down Easter Island / As if it wasn’t sacred, as if it wasn’t sacred to me.” The imagery is beautiful and the references to all of these big, historic images give the song a powerful atmosphere and magnitude. In the chorus, she comes to the realisation that, no matter how hard she tries, this is something she can’t change: “I’ve seen it, in the poems and the sands / I’ve pleaded, with the powers and their plans / I tried to rewrite it but I can’t / It’s the history, the history of man.” This story of love and heartbreak has happened millions of times, a story that repeats over and over again: “She stays up, he’s sleeping like a lamb / She begs him, he says he doesn’t understand / She loves him, more than anyone ever has in the history, the history of man / It’s the history of man.” This is a burden shared by women, one that men just can’t understand, which makes the title – ‘History of Man’ – both ironic and heartbreaking. In the second verse, she seems to reference the story of Orpheus and Eurydice, where he must walk out of the Underworld without looking back in order to save her but he can’t resist looking and damns her to hell. The lyrics “You didn’t even falter / Didn’t look back once, did you?” seem to imply that he walked out easily, that he wasn’t even tempted to look back because he didn’t care, an idea she reinforces with the later lyric, “You walked out, oh / Without sweating.” She also references the story of Samson and Delilah – “So Samson blamed Delilah, but given half the chance I / I would have made him weaker too” – where Delilah betrayed Samson by cutting his hair and costing him his power. On Twitter, Maisie wrote that the lyrics referred to how she wished she could’ve made someone weaker so that they wouldn’t have left “as callously as they did.” She understands why Delilah acted as she did and would’ve done the same. It’s also interesting that Samson “blamed” Delilah when it was he who actually gave her the ability to hurt him, by sharing his secret, and could be interpreted to mean that this person had never shared enough of themself with Maisie to even let her hurt them. After another chorus, she digs even deeper into “the unending pain of the female experience” with the bridge: the first line, “He stole our youth and promised heaven,” refers to “older men taking advantage of younger women” and “the way we want to believe them, the way they know that and use it against us,” as Maisie explained on Twitter; “The men start wars yet Troy hates Helen” describes how, even though it was always the men that started wars, Helen was the one hated because she had power over men; “Women’s hearts are lethal weapons / Did you hold mine and feel threatened?” could easily refer to the way men are so quick to undermine women and to keep them down so that they will always be the ones holding the power, because a woman with power, something that Maisie is depicting here, is something they perceived as terrifying; the lyric, “Hear my lyrics, taste my venom,” sounds like Maisie’s own war cry, that people will hear what she has to say and recognise the power she holds (however the use of ‘venom’ could also be linked to the story of Eve being tempted by the snake and how, throughout history, women have been portrayed as liars and betrayers and villains); and the final lyric, “You are still my great obsession,” could imply that, despite the cruelty of men, women continue to obsess over the idea of falling in love, which can so often lead to pain and heartbreak. The final chorus begins as the previous ones do – “I’ve seen it, in the poems and the sands / I’ve pleaded, with the powers and their plans / I tried to rewrite it but I can’t / It’s the history, the history of man” – only to suddenly switch perspectives – “I stay up, you’re sleeping like a lamb / I beg you and you don’t understand” – implying that this time it’s her story that she’s telling, not a ubiquitous experience of women but her personal heartbreak, the latest in this long, long lineage. As she draws to the end of the song, she sings, “I hold on, I try to hold your hand / I save you a seat, and then you say you wanna stand,” which is a gut-wrenching image: she tried to hold onto the relationship and she did everything she could to save it, only to have it thrown back in her face, which brings them to the inevitable conclusion: “So you’ll lose me, the best you’ll ever have / It’s the history, the history of man.” If he treats her badly, she’ll walk away with a broken heart and he’ll be left alone, searching for someone ‘better’ and never realising that he had it but threw it away. And the story repeats. And repeats and repeats and repeats.
Favourite Lyrics: “Yeah, I’m sure there was heartbreak / Inside the walls of Jericho” AND “You burnt down Easter Island / As if it wasn’t sacred, as if it wasn’t sacred to me” AND “I’ve seen it, in the poems, in the sands / I’ve pleaded, with the powers and their plans / I tried to rewrite it but I can’t / It’s the history, the history of man” AND “He stole our youth and promised heaven / The men start wars yet Troy hates Helen / Women’s hearts are lethal weapons / Did you hold mine and feel threatened? / Hear my lyrics, taste my venom / You are still my great obsession” AND “I hold on, I try to hold your hand / I save you a seat, and then you say you wanna stand / So you’ll lose me, the best you’ll ever have / It’s the history, the history of man”
I love multiple vault tracks on this rerecording but I’m pretty sure ‘Castles Crumbling (Taylor’s Version) (From The Vault)’ is my favourite. It’s a beautifully written song with a really strong, powerful metaphor, one that is heartbreakingly similar to the one that Taylor uses in ‘Long Live.’ But rather than triumphant and euphoric, the imagery is haunting and atmospheric, with lyrics like: “Once, I had an empire in a golden age” and “And I feel like my castle’s crumbling down / And I watch all my bridges burn to the ground” and “Once, I was the great hope for a dynasty” and “Now they’re screaming at the palace front gates, used to chant my name.” It’s beautiful, in a desolate kind of way. The emotion, the self loathing, is so heartbreaking – “I will just let you down / You don’t wanna know me now” and “Crowds would hang on my words, and they trusted me / Their faith was strong, but I pushed it too far / I held that grudge ’til it tore me apart” and “And here I sit alone, behind walls of regret / Falling down like promises that I never kept” and “People look at me like I’m a monster / Now they’re screaming at the palace front gates, used to chant my name / Now they’re screaming that they hate me / Never wanted you to hate me” – and I find it so distressing to think about the fact that, even then – so relatively early in her career – Taylor had so much anxiety over her future; she was so young and so scared and it just makes me wish I could go back in time and hug her. By the time she calls herself a ‘monster’ in ‘Anti-Hero,’ she’s strong enough and she’s shared enough that we understand where she’s coming from, that it’s an insecurity rather than a belief, but that’s not necessarily clear here, coming from a not even twenty-one year old Taylor. The whole thing makes me emotional enough to cry. Her vocals are stunning, conveying such emotion and fragility, and Hayley Williams’ compliments her beautifully; the production is gorgeous too’ somehow both sparse and anthemic.
Favourite Lyrics: “Once, I had an empire in a golden age” AND “And I feel like my castle’s crumbling down / And I watch all my bridges burn to the ground / And you don’t want to know me, I will just let you down / You don’t wanna know me now” AND “Once, I was the great hope for a dynasty / Crowds would hang on my words and they trusted me / Their faith was strong, but I pushed it too far / I held that grudge ’til it tore me apart // Power went to my head and I couldn’t stop / Ones I loved tried to help, so I ran them off / And here I sit alone behind walls of regret / Falling down like promises that I never kept” AND “People look at me like I’m a monster // Now they’re screaming at the palace front gates / Used to chant my name / Now they’re screaming that they hate me / Never wanted you to hate me”
8. There It Goes by Maisie Peters
I love this song so, so much. There’s something about the delicacy of the production and Maisie’s light voice and the uplifting feel that makes me emotional every time, not to mention the absolutely stunning lyrics. She seems to sum up the whole album in one song, moving forward and reclaiming her story, with more beautiful imagery than you know what to do with. The song has a lightness and a freedom to it, that we’re introduced to in the first part of the song, with lyrics like “I’m back in London / I’m running down Columbia Road / They’re selling sunflowers cheap” and “I hang all my art / And I dance with the coven / As the rain falls hard on the street,” resolving with “And I, I’m doing better / I made it to September / I can finally breathe,” a quiet but self-assured acknowledgement of how far she’s come. In the chorus, she’s finally letting go of this relationship that she’s invested so much time and emotion in; she’s letting it go before it becomes a permanent part of her. In the second verse, she’s moving forward and finally feeling like it: “I / Need you less than I did / I threw a party / He kissed me right in front of my friends / I felt so far from the cliffs.” She’s found peace with it and with what they had – “I sleep through the night / And I go where I’m wanted / And I don’t need your light to be lit” – and she’s taken from it what she needed to – “But oh, the way I loved you / I will not be embarrassed of that / Just should’ve known when to quit” – and nothing more. After the second chorus, she tips into an incredible bridge, full of symbolism and imagery, representing starting over and recovery: “A new home, a swan dive / A blank page, a rewrite / A black cat in the streetlights / An open door / The comedown of closure / The girls and I do yoga / I wake up and it’s October / The loss is yours / Brick lane in the brisk cold / And red wine on his hip bone / The witching hours of Stockholm that you won’t see / Sunflowers in the kitchen / No heartbreak in remission / The universe is shifting / And it’s all for me, all for me.” Her world has turned on its axis and the story has become hers again; she’s taken it back. The bridge always makes me cry. I want to know what that feels like, that “The universe is shifting / And it’s all for me” feeling. It’s a beautiful, beautiful song and one that has a really special place in my heart, even if it often makes me cry.
Favourite Lyrics: “I’m back in London / I’m running down Columbia Road / They’re selling sunflowers cheap” AND “I hang all my art / And I dance with the coven / As the rain falls hard on the street / And I, I’m doing better / I made it to September / I can finally breathe” AND “I sleep through the night / And I go where I’m wanted / And I don’t need your light to be lit / But oh, the way I loved you / I will not be embarrassed of that / Just should’ve known when to quit” AND “A new home, a swan dive / A blank page, a rewrite / A black cat in the streetlights / An open door / The comedown of closure / The girls and I do yoga / I wake up and it’s October / The loss is yours / Brick lane in the brisk cold / And red wine on his hip bone / The witching hours of Stockholm that you won’t see / Sunflowers in the kitchen / A heartbreak in remission / The universe is shifting / And it’s all for me, all for me”
Later on, in September, the line “I made it to September / I can finally breathe” became a bit of a trend on social media and people were screaming it during the live show. I struggled with that: I love the song and it just made me really sad because I didn’t feel good about reaching September, I wasn’t doing better, and I couldn’t ‘finally breathe.’ I want, more than anything, to know what “The universe is shifting / And it’s all for me” feels like. So seeing all of those videos was really hard and I ended up all but quitting social media. So it meant a lot to me when Maisie posted this clip…
9. making the bed by Olivia Rodrigo // logical by Olivia Rodrigo // the grudge by Olivia Rodrigo
I literally cannot choose so it’s a three-way tie between my three favourite songs from GUTS, Olivia Rodrigo’s new album.
‘making the bed’ is a gorgeous, gorgeous song while still being utterly devastating; the soft, delicate vocals and production only emphasise the vulnerability of the song. The song seems to detail Rodrigo’s experience of and feelings on fame but so many of the lyrics can also apply to feeling uncomfortable in your surroundings and in your skin, such as “Well, sometimes I feel like I don’t wanna be where I am” and “I’m so tired of bein’ the girl that I am.” The overthinking and feelings of insecurity are clear too, with lyrics like “Every good thing has turned into somethin’ I dread.” It’s very relatable, regardless of Rodrigo’s personal meaning. The metaphor she uses in the chorus, the idea of making her own bed is already a powerful one but, by expanding it, she’s made it even more impactful: “But it’s me who’s been makin’ the bed / Me who’s been makin’ the bed / Pull the sheets over my head, yeah / Makin’ the bed.” Not only has she created the situation she’s in but, now that she’s aware of it, it’s so hard to fix that she’s hiding from what she has to do, pulling the ‘sheets’ over her head. The second verse is one of my favourite lyrical moments on the album and I deeply relate to the part about the recurring dream: “And every night, I wake up from this one recurrin’ dream / Where I’m drivin’ through the city, and the brakes go out on me / I can’t stop at the red light, can’t swerve off the road / I read somewhere it’s ’cause my life feels so out of control / And I tell someone I love them just as a distraction / They tell me that they love me like I’m some tourist attraction / They’re changin’ my machinery, and I just let it happen / I got the things I wanted, it’s just not what I imagined.” It’s so beautifully written and the emotion just feels so raw and so close to the surface; it hits me like a train every time. It’s so vivid and visceral. The guitar part in the bridge is absolutely gorgeous and it may be my favourite musical moment on the album; there’s something about the tone combined with the melody that just hits me like a gut punch. I love it and it makes me want to flip my hair dramatically every time. And the last chorus is just so sad – “Sometimes I feel like I don’t wanna be where I am / Countin’ all of the beautiful things I regret / But it’s me who’s been makin’ the bed / Me who’s been makin’ the bed / Pull the sheets over my head / Makin’ the bed” – the modified lines adding one last heartbreaking confession.
Favourite Lyrics: “Another perfect moment that doesn’t feel like mine / Another thing I forced to be a sign” AND “I’m so tired of bein’ the girl that I am / Every good thing has turned into something I dread / And I’m playin’ the victim so well in my head / But it’s me who’s been making the bed / Me who’s been making the bed / Pull the sheets over my head / Making the bed” AND “And every night, I wake up from this one recurrin’ dream / Where I’m drivin’ through the city and the brakes go out on me / I can’t stop at the red light, I can’t swerve off the road / I read somewhere it’s ’cause my life feels so out of control / And I tell someone I love them just as a distraction / They tell me that they love me like I’m some tourist attraction / They’re changin’ my machinery and I just let it happen / I got the things I wanted, it’s just not what I imagined”
I think ‘logical’ may be the best written song on the album (and, interestingly, it’s a cowrite with Julia Michaels, which could explain the slightly different lyrical voice). The production is gorgeous – I love the piano part so much – and Rodrigo sounds beautiful: hurt and heartbroken and confused. Her vocals are incredible across the album but I think this song really showcases how expressive her voice can be. Lyrically, it’s stunning and I particularly love the second verse: “And I fell for you like water / Falls from the February sky / But now the current’s stronger / And I couldn’t get out if I tried / But you convinced me, baby / It was all in my mind.” The way she weaves all of these water based lyrics together so that they flow smoothly is beautiful. The simplicity of both the lyric and the melody of the chorus sounds stunning and really emphasises the vulnerability, as does the use of such… almost childish imagery: the lyrics “Two plus two equals five” and “If rain don’t pour and sun don’t shine” makes her sound so young, which she arguably was in the face of the break up. The bridge is incredible and so, so vulnerable (I’m honestly amazed that she released it): “‘Cause lovin’ you is lovin’ every / Argument you held over my head / Brought up the girls you could have instead / Said I was too young, I was too soft / Can’t take a joke, can’t get you off / Oh, why do I do this?” And it’s so well-written: you can hear his systematic and undermining attack on her, hammering on every insecurity and soft spot. You can hear the cruelty and you can hear her anguish and humiliation. And as heartbreaking as that is, it’s the outro, I think, that reveals the core of the pain: “Oh, logical, logical, love is never logical / I know I’m half responsible and that makes me feel horrible / Oh, logical, logical, love is never logical / I know I could’ve stopped it all, God, why didn’t I stop it all?” The first part hits like a gut punch and the second part is worse; it’s gut-wrenching to listen to. To hear her question why she let it happen, why she didn’t stop it before it got to that point, when he was the one who hurt her is devastating. But I get it; I’ve been there and something like that really messes with your head, making it really, really hard to untangle the feelings from the facts.
Favourite Lyrics: “Come for me like a saviour / And I’d put myself through hell for you” AND “And I fell for you like water / Falls from the February sky / But now the current’s stronger / No, I couldn’t get out if I tried
But you convinced me, baby / It was all in my mind” AND “Then changing you is possible / No, love is never logical” AND “You built a giant castle / With walls so high I couldn’t see / The way it all unraveled / And all the things you did to me / You lied, you lied, you lied” AND “You mean all those words you said / I’m sure that girl is really your friend / Problems are all solvable / ‘Cause loving you is loving every // Argument you held over my head / Brought up the girls you could have instead / Said I was too young, I was too soft / Can’t take a joke, can’t get you off” AND “Logical, logical / Love is never logical / I know I’m half responsible / And that makes me feel horrible // Oh, logical, logical / Love is never logical / I know I could’ve stopped it all / God, why didn’t I stop it all?”
‘the grudge’ is an interesting one; it feels a little more stream of consciousness than traditional pop song. The chords wander a little more and it’s not so tightly tied up. But it’s beautiful and raw, a plea for answers after a trauma that changed your life in every possible way imaginable. I really relate to that and so I find the lyrics deeply moving and compelling; I can pinpoint lyrics like “You took everything I loved and crushed it in between your fingers” and “And I doubt you ever think about the damage that you did / But I hold on to every detail like my life depends on it / My undying love, now I hold it like a grudge” to moments in my own life. While I prefer the verses more from a lyrical point of view, the chords to the chorus are gorgeous, especially towards the end of the first chorus: she makes a transition that is just so gorgeous and vividly reminds me of Sara Bareilles, or something Sara Bareilles would do in a song. It’s one of my favourite musical moments on the album. And the second verse is another of my favourite lyrical moments: “The arguments that I have won against you in my head / In the shower, in the car and in the mirror before bed / Yeah, I’m so tough when I’m alone and I make you feel so guilty / And I fantasise about a time you’re a little fucking sorry / And I try to understand why you would do this all to me / You must be insecure, you must be so unhappy / And I know in my heart hurt people hurt people / And we both drew blood, but, man, those cuts were never equal.” Each moment is so clear, so vivid: you can see each imagined argument, her frustration and distress over how she never got the apology she deserved, how hard she’s trying to let it go only to still feel so hurt by it. No word is superfluous; every syllable is dedicated to this attempt to exorcise him from her life – to let it go, to forgive him, to move on – but she’s still hurting too much. Her vocals in the bridge are stunning and when it peaks, with the lyric “You have everything and you still want more,” you can almost hear the tears. That feeling, that pain and frustration and anger, is conveyed so well that it makes my stomach twist. The progression within the chorus, from “It takes strength to forgive, but I don’t feel strong” to “It takes strength to forgive, but I’m not quite sure I’m there yet,” really show the growth and acceptance throughout the song: at the beginning, she’s frustrated with herself for not being able to forgive him but, by the final chorus, she’s accepted that it’s a process and a journey and she’ll get there one day, but she’s just not in that place ‘yet.’ It’s acknowledgement that it’s okay to feel everything, to process it all in small steps; she doesn’t have to be anywhere she isn’t until she’s ready to be. Maybe that’s just me reading into it but I think it’s a really moving sentiment.
Favourite Lyrics: “Took everything I loved and crushed it in between your fingers / And I doubt you ever think about the damage that you did / But I hold onto every detail like my life depends on it” AND “The arguments that I have won against you in my head / In the shower, in the car and in the mirror before bed / Yeah, I’m so tough when I’m alone and I make you feel so guilty / And I fantasise about a time you’re a little fuckin’ sorry / And I try to understand why you would do this all to me / You must be insecure, you must be so unhappy / And I know in my heart hurt people hurt people / And we both drew blood, but, man, those cuts were never equal” AND “You have everything and you still want more” AND “It takes strength to forgive, but I’m not quite sure I’m there yet”
10. The Tree by Maren Morris // Truth Is by Maisie Peters // Say Don’t Go (Taylor’s Version) [From The Vault] by Taylor Swift
I love both of the tracks on Maren Morris’ EP, The Bridge, but I had to go with ‘The Tree’ here. I just really, really love it. She sounds incredible, as she always does, and the production is gorgeous; it just sounds so Maren Morris in all of the best ways. The chorus – “Oooh / Do you hear that / It’s the sound of a new wind blowing / Oooh / Do you feel that / Heart letting go of the weight it’s been holding / I’ve made miracles in the shadows / But now that I’m out in the sun / I’ll never stop growing / Wherever I’m going / Hope I’m not the only one” – is so moving and inspiring. The tree metaphor is really tight and beautifully executed and the lyrics are so simple but impactful: “I’m done filling a cup with a hole in the bottom / I’m taking an axe to the tree / The rot at the roots is the root of the problem / But you wanna blame it on me” and “I hung around longer than anyone should / You’ve broken my heart more than anyone could” and “Spent ten thousand hours trying to fight it with flowers.” And the extended final chorus, with the added lyrics – including “Do you hear that / That’s the sound of the tree falling” – is the perfect ending. The song expresses her feelings and her hopes, but it’s also a call to action. Over her career, Maren has become more and more outspoken about her personal and political beliefs and this seems like a really natural progression. It’s really powerful, even if it does make me want to cry and give her a massive hug.
Favourite Lyrics: “The rot at the roots is the root of the problem / But you wanna blame it on me / I hung around longer than anyone should / You’ve broken my heart more than anyone could” AND “Ooh, do you hear that? / It’s the sound of a new wind blowing / Ooh, do you feel that / Heart letting go of the weight it’s been holding / I’ve made miracles in the shadows / But now that I’m out in the sun / I’ll never stop growing / Wherever I’m going / Hope I’m not the only one” AND “Spent ten thousand hours trying to fight it with flowers” AND “Do you hear that / That’s the sound of the tree falling”
I love The Good Witch deluxe tracks. I love the original album and I wouldn’t change the tracklist because it’s so perfect as it is but I still love the extra songs. There are so many gorgeous lyrics and melodies and production moments. There are multiple songs I could write about here but the one that hit me the hardest and fastest was ‘Truth Is.’ It’s just so raw and devastating and it breaks my heart to think of Maisie writing it, of Maisie potentially going through it – she’s said that she doesn’t only write about personal experiences so I don’t want to assume that she has but it’s clearly a story that resonated with her otherwise I doubt she would’ve written a song about it, and such a powerful song at that – having said that, I will refer to ‘she/her’ and ‘he/him’ just for the sake of ease while writing. It describes, in painful detail, reflecting on an abusive relationship and the devastating effect it had. The lyrics just wrecked me, the trauma she went through and how he clearly just doesn’t care: “Time will heal / But I’ll always be a little bit broke.” I love the metaphor and imagery in the lyric “Hey baby, all I ever did was care / You played a bitter game of musical chairs” and this revelatory moment – “I was a failure ’til I couldn’t fuckin’ bear it no more” – is so heartbreaking and a feeling that I do really relate to. In the bridge, the ways she questions why he did what he did – “Did I rile up all your demons? / Did I give you any reason? / Or did I love you? Did I just love you? / Was it useful? Was it worth it? / Did you think that I deserved it? / ‘Cause I didn’t, I just loved you” – is so relatable, for anyone who’s been treated badly by someone. There’s self-blame – “Did I rile up all your demons? / Did I give you any reason?” – and trying to make sense of why – “Was it useful? Was it worth it? / Did you think that I deserved it?” – but ultimately, she knows that she didn’t do anything wrong: “‘Cause I didn’t, I just loved you.” The choruses are so powerful but it’s the final one that really ripped my heart out: “Truth is, you were the blow behind the bruises / You weren’t love and if I could undo it / I’d never have been yours to ruin / You got off with no court and no blame / Who is out there living with no shame? / Who took my very worst fear and proved it? / Truth is, you did.” There’s the desperation to rewrite the past and the pain of being “yours to ruin,” implying that she feels ruined (which goes back to “I’ll always be a little bit broke”); the fact that he “got off with no court and no blame” and that he’s “living with no shame” conjures a very specific scenario that just makes me want to cry, an image that he isn’t weighed down by this while she is; and the idea that he “proved” her “worst fear” is such a distressing one. It’s such a powerful and moving song and it will always be special because of how raw the emotion is; my experiences don’t line up exactly but there are a lot of parallel emotions, enough that I could certainly sing lines of this song to a certain person who damaged me.
Favourite Lyrics: “And that’s real / But it doesn’t stop the lump in my throat / Time will heal / But I’ll always be a little bit broke” AND “Still you believe there’s no wound and no blood / Who took all of my trust then abused it? / Truth is, you did” AND “Hey baby, all I ever did was care / You played a bitter game of musical chairs / Hey baby, I would fall and you would glare / I was a failure ’til I couldn’t fuckin’ bear it no more” AND “And I’ll never get back months of my life / Time will cure / But you’re never gonna know what that’s like” AND “Did I rile up all your demons? / Did I give you any reason? / Or did I love you? Did I just love you? / Was it useful? Was it worth it? / Did you think that I deserved it? / ‘Cause I didn’t, I just loved you” AND “Truth is, you were the blow behind the bruises / You weren’t love and if I could undo it / I’d never have been yours to ruin / You got off with no court and no blame / Who is out there living with no shame? / Who took my very worst fear and proved it? / Truth is, you did”
I was so excited for the vault tracks of 1989 and they did not disappoint; they’re great songs and I honestly love them all (although I can absolutely see why they weren’t included on the original tracklist). Picking just one for this month, especially since the album only came out on the 27th, was really hard but the atmospheric ‘Say Don’t Go’ (Taylor’s Version) [From The Vault] was a favourite from my first listen. I love the dark, atmospheric sound that’s still very much 1989 and Taylor’s vocals are stunning, as are the backing vocals (which also feel very 1989). The lyrics are gorgeous. I love the opening line: “I’ve known it from the very start / We’re a shot in the darkest dark / Oh no, oh no, I’m unarmed.” It feels like such a perfect opening to the song and I love the imagery throughout the verse lyrics: “Now I’m pacin’ on shaky ground / Strike a match, then you blow it out / Oh no, oh no, it’s not fair” really reflects the uncertainty and anxiety she felt about the relationship and “‘Cause you kiss me and it stops time / And I’m yours, but you’re not mine / Oh no, oh no, you’re not there” is so visceral and heartbreaking. The refrain, “Say, ‘Don’t go’ / I would stay forever if you say, ‘Don’t go,'” is simple but the emotion in her voice is so moving. I love the way the melody rises into the chorus and it’s so catchy: “Why’d you have to lead me on? / Why’d you have to twist the knife? / Walk away and leave me bleedin’, bleedin’? / Why’d you whisper in the dark? / Just to leave me in the night? / Now your silence has me screamin’, screamin’ / (Say) say, ‘(don’t) don’t (go) go’ / I would stay forever if you (say) say, ‘(don’t) don’t (go) go.'” It feels deeply cohesive to the sounds and styles and themes of the original album but more intense maybe, more vulnerable. I wonder if that is why it didn’t make the original tracklist. The bridge is plaintive and heartbroken – “Why’d you have to / Make me want you? / Why’d you have to / Give me nothin’ back? / Why’d you have to / Make me love you? / I said, ‘I love you’ / You say nothin’ back” – and is deeply reminiscent of ‘You’re Losing Me’ (or the other way around, given that the former was written first). It’s so cool to see how many links there are both to repeated themes on throughout the album – to madness, to fire, to darkness – and to specific songs – to driving by, like in ‘I Wish You Would,’ and card games, like in ‘New Romantics’ – something that makes Taylor’s writing so interesting. 1989 is one of the albums where it’s most striking so it’s fascinating to see that she clearly employed it as a technique throughout the songwriting process for the album; otherwise we wouldn’t be seeing it in the songs that didn’t make the original album.
Favourite Lyrics: “I’ve known it from the very start / We’re a shot in the darkest dark / Oh no, oh no, I’m unarmed” AND “I’m standin’ on a tightrope alone / I hold my breath a little bit longer” AND “Now I’m pacin’ on shaky ground / Strike a match, then you blow it out / Oh no, oh no, it’s not fair / ‘Cause you kiss me and it stops time / And I’m yours, but you’re not mine / Oh no, oh no, you’re not there” AND “Why’d you have to / Make me want you? / Why’d you have to / Give me nothin’ back? / Why’d you have to / Make me love you? / I said, ‘I love you’ / You say nothin’ back” AND “I would stay forever if you say, ‘Don’t go’ / But you won’t, but you won’t, but you won’t”
11. The Last One by Maisie Peters
I was lucky enough to see Maisie twice on The Good Witch Tour, first on Halloween in Bristol and then at Wembley Arena (her first arena as a headliner!) at the beginning of November. Both shows were really special and so I had to choose this song for my November slot since she dedicated it to fans every time she performed it live. When she posted the video of the Wembley show, she used this song and the accompanying message read: “wembley was a perfect show and a perfect night, a true celebration of the good witch and the magic that has brought us all together. this song to me has always been about you guys, about how we feel about eachother, about how safe and special and sacred our shows are, so i knew straight away the video had to showcase that. i hope u feel seen and heard and understood, and truly reminded of how much love there is and always will be in this universe we have created together.” It’s a gorgeous song, triumphant and uplifting, and I love it so much. The song sees Maisie describing someone she loves, regardless of their mistakes and failures, and how she’ll always support him. In the first verse, she likens him to Icarus: “You’re bright and it’s blinding / Just a small spark, and you’re flying / With your wax wings in a back room / Got my arms out, tryna catch you.” And while many might consider him “a lost cause in Levi’s,” she’ll “always see great heights” in him. In the chorus, she establishes just how much she’ll support him, that she’ll be the last one beside him if that’s what it comes to: “I’ll be the last one / I’ll be the last one in your corner when the count’s done / I’ll be the last one / Holdin’ my hands up / Stood on the bleachers all alone after the crowd’s gone / I’ll be the last one.” In the post-chorus, the energy and imagery kicks up in intensity with lyrics like “If you’re the Syd Barrett of the band, I’m the girl on the train tracks holdin’ your hand.” I love that lyric in particular. I’ve seen the interpretation that it’s about how, even if he’s lost everything, she’ll still follow him and be there to hold his hand; Syd Barrett being used as a symbol of loss – lost dreams, lost youth, lost idealism – and the train tracks potentially referring to a quote about his reclusiveness (“Syd didn’t so much ‘get off the train’ as fall headlong onto the tracks”). It’s a heartbreaking lyric. She continues with the use of gorgeously vivid imagery in the second verse and bridge, such as “You’re a dreamer in a parka / Send a flare up in the dark / And I’ll come find ya” and “When all the floodlights blow / And the sky is filled with smoke.” The final chorus begins as a breakdown chorus, gentle and tender, before bursting back into life to end the song, with modified lyrics in the post-chorus: “‘Cause, if you’re the Syd Barrett of the band / I’m the girl on the train tracks holdin’ your hand / Halfway to the moon on a plane you couldn’t land / You were seeing castles, they were seeing sand / They’re never gonna get it, no, they’ll never understand / But I believe in you, I’m your number one fan / So, after the crowd’s gone / I’ll be the last one.” I love the childish naïvety in the lyric “You were seeing castles, they were seeing sand,” like he can still appreciate the moments of beautiful simplicity while everyone else doesn’t even notice them. It’s very sweet. The song displays such a tender love for the person it’s about, such belief in them, making it really moving. Musically, I love the anthemic sound – the arrangement and production are gorgeous – and I love the little added effects, like the sound of the flare alongside the “Send a flare up in the dark” lyric. Maisie’s voice sounds incredible and the atmospheric backing vocals are just so perfect. With all of the elements of the song combined, plus Maisie’s continued sincere dedications of the song, just makes me so emotional; I’ve cried while listening to it more than once.
Favourite Lyrics: “You’re bright and it’s blinding / Just a small spark, and you’re flying / With your wax wings in a back room / Got my arms out, tryna catch you” AND “Caught in a streetlight / A lost cause in Levi’s / But I’ll always see great heights in you” AND “I’ll be the last one / I’ll be the last one in your corner when the count’s done / I’ll be the last one / Holdin’ my hands up / Stood on the bleachers all alone after the crowd’s gone / I’ll be the last one” AND “If you’re the Syd Barrett of the band, I’m the girl on the train tracks holdin’ your hand” AND “But I’ll believe in you, still your number one fan, baby / After the crowd’s gone, I’ll be the last one” AND “You’re a dreamer in a parka / Send a flare up in the dark / And I’ll come find ya / Somewhere downtown / With your worst friends on the last round” AND “When all the floodlights blow / And the sky is filled with smoke / You’re still out there on your own / And I’m still the last to go” AND “You were seeing castles, they were seeing sand / They’re never gonna get it, no, they’ll never understand”
12. Is It Over Now? (Taylor’s Version) [From The Vault] by Taylor Swift
This song is another example of how great the 1989 vault tracks are. The vocals, the backing vocals, the imagery, the energy, the production… they’re all gorgeous. As a song, it fits into the story Taylor is telling on 1989 – it’s practically a summation of the whole relationship – but given how desperate Taylor was to protect both Harry Styles and her reputation, it’s not surprising that it didn’t end up on the final tracklist; the album was marketed heavily as her ‘single girl album’ and she worked so hard to avoid the album becoming thought of as another heartbreak album so a song like this, especially with its similarities to ‘Out of the Woods,’ may well have tipped the delicate balance she was clinging to. The lyrics are full of uncertainty and frustration as she tries to make sense of the breakup. She still sees him everywhere – “Let’s fast forward to three hundred takeout coffees later / I see your profile and your smile on unsuspecting waiters” – and clearly thinks that he feels the same, that he can’t get over her either – “You dream of my mouth before it called you a lying traitor” – despite how things ended and that he’s using his new relationships to try and find what they had – “You search in every maiden’s bed for something greater.” And when she repeats this lyric later in the song, the situation has evolved – “You search in every model’s bed for something greater” – and he’s moved from maidens to models, which most likely implies that, with more time and more fame, he dated more and more beautiful women, women as opposed to girls and beautiful because they had to be for their job but that he’s still looking for someone ‘better’ than Taylor and not finding it (an interesting link to these lyrics can be found in ‘Wonderland,’ with the lyric “You searched the world to something else to make you feel like what we had”). The chorus seems to ask when the relationship was truly over, although whether she’s asking about it in the literal or emotional sense, we can’t know: “Baby, was it over / When she laid down on your couch? / Was it over when he unbuttoned my blouse? / ‘Come here,’ I whispered in your ear / In your dream as you passed out, baby / Was it over then? / And is it over now?” Both options are really interesting to think about, both in how to interpret the song and how each potentially changes the story that the album tells. The second verse details moments that we know featured in their relationship: “When you lost control / Red blood, white snow” clearly refers to their snowmobile accident that she wrote about in ‘Out of the Woods’; “Blue dress on a boat” seems likely to reference the day they went out on a boat together, which the paparazzi reported with a photo of her sitting alone on the back of said boat; and “Your new girl is my clone” is likely a comment on the women he later dated who looked very like Taylor, as is “Let’s fast forward to three hundred awkward blind dates later / If she’s got blue eyes, I will surmise that you’ll probably date her,” which is a beautifully scathing lyric. This song plays with structure, bringing in the bridge before the second chorus, and she describes the hurt she feels watching him flaunt his new relationships when she’s been respecting his feelings by keeping hers private: “And did you think I didn’t see you? / There were flashing lights / At least I had the decency / To keep my nights out of sight / Only rumors ’bout my hips and thighs / And my whispered sighs / Oh, Lord, I think about / Jumping off of very tall somethings / Just to see you come running / And say the one thing I’ve been wanting / But no.” The melodic rhythms and internal rhymes are super satisfying and really increase the pace of the section. I struggle with the last part though: “I think about / Jumping off of very tall somethings / Just to see you come running / And say the one thing I’ve been wanting.” I know what she means – she’s using the metaphor to describe how extreme her feelings are, how far she’d go to have him come back – but I can never be okay with such a casual use of suicidal imagery, like “Jumping off of very tall somethings,” especially when it’s used in the context of getting someone’s attention. It’s something like this that means a song can never rise as high on personal ranking as it could have without such a lyric. After that bridge, she jumps in to the second pre-chorus and chorus before returning to the bridge and, from there, a messy and therefore highly representative outro that pulls lyrics from multiple sections of the song. Despite the anxiety and distress in the song, it’s super catchy and fun, and it’s easy to find yourself listening to it on a loop. The writing is so, so good and it’s songs like this one that really show us how she grew as a songwriter from this album to reputation.
Favourite Lyrics: “Was it over then? / And is it over now?” AND “When you lost control / Red blood, white snow / Blue dress on a boat / Your new girl is my clone” AND “And did you think I didn’t see you? / There were flashing lights / At least I had the decency / To keep my nights out of sight / Only rumours ’bout my hips and thighs / And my whispered sighs / Oh, Lord” AND “Let’s fast forward to three hundred awkward blind dates later / If she’s got blue eyes, I will surmise that you’ll probably date her”
One day, I’ll actually keep to the twelve songs a year and we’ll all faint in shock, myself included. But that is not this year. When there’s so much good music in the world, I’m not surprised I can’t keep to it but it is kind of fun and motivating to try, to attempt to determine the songs that have had the biggest impact on me in any given month. As usual, it’s gotten very long so, if you’ve made it this far, thank you very much. I hope you found a song or two that you liked, an artist that you want to hear more of. Again, here’s the playlist if you want to listen to any (or all) of the songs again.
Category: about me, anxiety, autism, depression, emotions, favourites, medication, mental health, music, quotes, special interests, suicide, video, writing Tagged: 1989, 1989 taylor's version, actuallyautistic, antidepressants, autism, autistic, autistic adult, autistic artist, autistic creative, candi carpenter, castles crumbling, crashlanded, depression, favourite songs, from the vault, guts, hayley williams, history of man, ingrid andress, is it over now, kelsea ballerini, let it be love, logical, lost the breakup, lyrics, madeline edwards, maisie peters, making the bed, maren morris, medication, melodies, melody, mental health, mental illness, michael logen, mountain with a view, music, nashville, nervous system, nick wilson, olivia rodrigo, phenelzine, production, rolling up the welcome mat, sara bareilles, say don't go, she used to be mine, song analysis, songs, songs of 2023, songwriting, speak now taylor's version, special interest, special interests, subject to change, taylor swift, the good witch, the good witch deluxe, the last one, the six one five collective, the tree, there it goes, tin pan south, tin pan south 2023, truth is, you're losing me
Posted on November 5, 2023
TW: Mentions of self harm and suicidal thoughts and urges.
It’s been a year since I started therapy again after an unintentional break, essentially starting again with a new therapist. It’s been a hard and emotional process, and at times a distressing one; just going to therapy can make you feel so vulnerable and so open to further hurt as you dig into the hard stuff – wading into dark waters that you’d rather ignore and pretend don’t exist, even as they’re eroding your mental health – that adding difficulties to that already difficult thing can feel unfairly cruel. So, given that I’m me, I thought that, perhaps, writing about it might be helpful and maybe not just for me but for anyone going through a similar transition. And if not helpful, then hopefully validating in some way.
I’d been seeing Therapist A for almost seven years when everything changed. She was taking leave and I was on my own.
Pre-2021, I’d seen Therapist A once or twice a week pretty consistently since early 2016. Even when the UK went into lockdown due to COVID-19 at the beginning of 2020, we continued our sessions online; I didn’t find them as productive but it was better than nothing. We continued that way for a while, trying to manage my crippling anxiety over the pandemic, working on issues that came up as I persisted with my now online Masters classes, and continuing to work on the issues that had landed me in therapy in the first place. But then the schedule began to slip: Therapist A’s home life was pulling her away from work and I was working myself into the ground in order to complete the final project of my Masters. I barely saw her in the last four months of the course, which I really struggled with: I was digging into some pretty hard stuff, writing song after song about my experience of being autistic, and I craved that safe space to play them to her, to hear her perspective on what I was saying, talk about the feelings they were bringing up, and she wasn’t there. I told myself that it was a short term thing and that, once the Masters was over and her stuff was resolved, the schedule of our sessions would go back to normal. I think it’s safe to say that, given the title of this post, it didn’t.
I finished the Masters in September 2021 and officially graduated, walking the stage, a few months later in November. I had reduced and stopped taking Phenelzine at this point, in preparation for trying ADHD meds (and we all know how appallingly that went), and my depression was creeping back in; the situation was getting pretty desperate. But luckily, that was when Therapist A reached out and we started having sessions again. We had a lot of catching up to do but, by mid-December, we were up to date. Unfortunately, the ADHD medication was already hitting me hard and my depression had gone from a state I recognised to a whole new level of despair with increasingly overwhelming suicidal thoughts. My most vivid memory from that time is sitting in Therapist A’s new office, staring at the unfamiliar rug and hearing my voice in my ears as I confessed to those thoughts, my voice completely flat (this is known as ‘flat affect,’ a recognised symptom of depression and other mental health conditions). It still makes me nauseous to think about, even though so much time has passed and my depression has gotten so much worse since; I think, in my head, that was the beginning of this awful, awful time.
My last session was on New Years Eve and I was drowning, all of the impending new beginnings feeling more like a threat than a promise. When we hung up, I felt achingly hollow and that was only the beginning of a terrible night. But that’s a story for another time. January was passing around me, aimless and anxious, when I finally heard from Therapist A. But instead of setting up our next session, she was letting me know that she was taking leave indefinitely. Her reasons aren’t mine to tell but, between those, my ongoing abandonment issues, and my overwhelmingly bad mental health, I was devastated, spiralling into some grotesque hybrid of a meltdown and a panic attack that went on for hours: I screamed, I cried, I scratched at my face, I tore at my hair, I shrieked like an animal in pain. I guess that’s what I was. I felt like I was trying to exorcise a corrosive demon from my body but nothing helped, nothing alleviated the pain. I was shattered as brutally as if I’d been hit by a wrecking ball. That’s what it felt like, what my life felt like.
Eventually I physically ran out of energy and fell asleep, too tired and emotionally drained to even engage with the world. My depression became more and more overwhelming, compounded by the devastating effects of the ADHD medications and the loss of a massive source of support in my life, and, for months afterwards, I barely got out of bed, barely ate, barely talked. I abandoned social media and I avoided mirrors at every opportunity, to the point where I started to forget what I looked like. The suicidal thoughts were only getting stronger, stronger than they’d ever been in my life, and the feeling of being intrinsically, irreparably broken was – and is – a constant weight in my chest.
I’m not sure when or why I started getting out of bed, why I decided that I needed to go back to therapy. I think I knew I was getting into a very precarious position mentally and the excruciating pain of being inside my head was getting so unbearable that I was willing to do anything to lessen the pressure. I did see a consultant at the local mental health unit but the experience was another traumatic one: after a panic attack at the front door, a junior doctor took my history and then brought in the consultant who told me about ECT and the Ketamine trials before telling me why I shouldn’t do them and recommending doing more of the things I love (which I’d already told him I couldn’t engage with because I was so depressed). So that didn’t improve my relationship with doctors and the medical profession.
For a short while, I worked with a therapist I’d met several years previously but the sessions only made me feel worse and while I have no doubt that it wasn’t intentional, I ended up feeling more broken and more traumatised by some of the things he said, trauma that I’m still carrying around with me. So I stopped seeing him and met with several new therapists, trying to get a feel for them and their methods before committing to someone new. But, just like with Therapist A, Therapist B was the first of the group that I met (a year ago yesterday, I believe) and between her therapeutic approach, her personality, and the fact that she’d brought along a dog she knew in order to put me at ease, she was the obvious choice.
As therapists, they both trained in several of the same disciplines and their skillsets overlap to a certain degree but, when discussing a particular issue, there were differences to how they’d approach it; there has been a fair amount of whiplash in getting use to Therapist B’s approach after so many years with Therapist A. But the point of this post isn’t to compare them – they’re both lovely people and very good at what they do, at least as far as I can tell – but rather to reflect on the process of moving from one to another and the feelings that that kicked up. And a lot of feelings there were – I even wrote a song about it called ‘Grave Digger.’ During the early sessions with Therapist B, we made a timeline of my life and discussed some of the biggest moments, many of which were difficult and distressing (and remain so to this day). Revisiting and recounting the hardest parts of my life was gruelling but I did my best to push through the internal resistance and breathe through the resulting turmoil; between that and the ongoing mental anguish, it was a difficult few months. I don’t mean to make it sound like one continuous torture because that isn’t true -we’ve talked about the good experiences that’ve made me who I am, of course, and there have been sessions where we’ve laughed a lot – but I think that building a strong relationship with a therapist and making progress will always involve periods of incredible vulnerability, which is always scary and, at times, painful.
Sometimes – okay, often – I feel like I’m not making any progress at all, partly because of all the disruption and the distress it’s caused. A year ago, I hadn’t expected to see 2023 and my depression and chronic suicidal thoughts haven’t lessened, even though I am taking Phenelzine again (at a higher dose, in fact) – after many discussions with Therapist B. It has made me more functional, to a certain degree, but the decision came with a price tag: my self harming escalated from cutting my arm to cutting my face. I’m not convinced anything’s changed; I don’t feel any better. But I can see that some things have changed and changed for the better, even though I can’t feel the effects yet: something has allowed me to start talking about some of the worst stuff in my brain, even if only a little. It’s something I could never have imagined doing so I know that that’s progress, even though I struggle to feel it.
I have heard from Therapist A several times now; the news has generally been positive, which has been a great relief (and I appreciate having a little less uncertainty in my life). Therapy is continuing as normal – the current version of normal at least – which I’m pretty sure is a good thing: the idea of trying to work my way through all of the emotions that I know would come up as a result of any potential change makes me feel physically nauseous.
I’m not always convinced that I’ve adjusted and sometimes I forget that I’m not going to see Therapist A, my body moving in the direction of that office as the car turns down a different road; that experience is more ingrained than I had realised at the time. And I know I’m still carrying a lot of hurt and anger over the whole thing, even though over a year has passed. I’m not angry at the people involved – nobody chose any of this – but there is anger and, although I’ve been slower to realise it, hurt too. I think it’s easier to be angry than to be hurt. Not always but sometimes. And, as I said, I have abandonment issues, issues that I’ve struggled with for a long time, which – unsurprisingly – have been exacerbated by this whole thing. It’s hard to lose someone that you trusted to never leave (a naïve ideal, I know) and it’s hard to trust someone new, ignoring the whispers that they’re just another person who will inevitably walk away. I think these issues are important to mention but they probably need their own blog post rather than taking up space here: when talking about changing therapists, it’s not something that everyone has mixed into the equation. All of that said, I’m trying to trust and I think that, for the most part, I am, even if it does sometimes feel like a conscious, concentrated effort. The progress isn’t as fast as I’d hoped it would be when I committed to therapy again last year but the proof is there. I’m sharing things I never thought I’d share and that’s certainly not nothing.
Category: about me, anxiety, autism, covid-19 pandemic, depression, emotions, medication, meltdowns, mental health, self harm, suicide, therapy, treatment, university, writing Tagged: abandonment, abandonment issues, actuallyautistic, adhd, adhd medication, antidepressants, asc, asd, attention deficit hyperactivity disorder, autism, autism spectrum condition, autism spectrum disorder, autistic, autistic adult, autistic artist, autistic meltdown, autistic songwriter, covid, covid-19, cptsd, dbt, depression, dialectical behaviour therapy, ect, electroconvulsive therapy, fear of abandonment, flat affect, graduation, ketamine, ketamine trials, masters, masters degree, masters degree in songwriting, medical trauma, medication, meltdown, mental illness, online therapy, panic attack, phenelzine, radically open dialectical behaviour therapy, rodbt, self harm, self injury, songwriter, songwriting, suicidal, suicidal ideation, suicidal thoughts, suicidal urges, therapist, therapy, trauma, trd, treatment resistant depression, university
Posted on September 30, 2023
I really overdid things in June and pushed myself harder than I could really handle; I was just so overwhelmed and drained and exhausted so, in July, I tried to take things more gently, to varying degrees of success. Having said that, I did have some completely one-off opportunities booked that I couldn’t – and didn’t want to – miss. It’s hard, relearning to balance doing things with recharging and building my stamina. There are still so many things I want to do, especially see my friends and schedule more sessions with my favourite cowriters but I just really struggle to make things fit, and make things fit without absolutely crashing and burning, something that has happened repeatedly since I started taking the Phenelzine – and therefore doing things – again.
The week in this post started on Monday 3rd July 2023 and ended on Sunday 9th July 2023.
MONDAY
I woke up before nine and worked through some of my morning habits, like drinking water and my Duolingo practice, before getting up and getting in the shower. Then I settled in the living room and got to work on my current blog post, alternating with closing some of the many tabs I have open and trying to tidy my laptop up a bit. My Mum had gone in to town to get her laptop fixed and she’d asked about mine and it’s new habit of randomly turning off at any given moment. They said that, when it was made in 2015 (I got it later, refurbished), running it was like asking it to function at 100% but now, eight years later, running it is like asking it to run at 200%, which is obviously problematic. And given my propensity to work on about seven different things at once (with so many tabs open), I’m honestly surprised that it’s survived this long. They basically said that it’s not going to last much longer and I’m going to need to get a new one soon: the dreaded words with the Taylor Swift ticket sales coming up. Even though I’ve been saving for these concerts and have savings for moments like these (when something necessary, like a laptop, needs to be bought), the money anxiety was sitting in my stomach like a slimy, writhing creature.
Early afternoon, one of my friends came over to visit. She’s probably my oldest friend; we met when we were thirteen and we’ve been really close ever since, even though we don’t see each other as much now, living in different cities and working and so on. But our friendship has been one of the great pillars of my life; we always pick up right where we left off and there’s never any awkwardness. It was so, so lovely to see her, to hang out with her even though it wasn’t as long as we’d hoped for, but we got to catch up properly and we had a good laugh. I miss her more now that she’s further away, further away than she ever has during our friendship; it’s so much harder to see each other. But it’s comforting to know that our friendship has never really changed, even if it has evolved since we were at school and saw each other every day.
When she left, I made sure to take some rest time. Mum and I were both hanging out in the living room; she was working on her laptop and I spent a couple of hours continuing the work of cleaning up my laptop. We’ve been half watching House at times like this and we finally finished it, watching the ‘making of’ at the end. For the most part, it was fun and interesting but there was one part that really got under my skin: one woman was talking about the creation of the character of Gregory House and how the original idea was that House was in a wheelchair but that that was ‘too difficult’ so they changed it. I’m sure she meant it from a filming and set perspective and they eventually got to the idea of him using a cane, which I do think was a better choice for storytelling given the character, but the way she talked about it just felt really ableist and insensitive. I know I get triggered by that ‘too difficult’ and ‘too complicated’ talk but it just felt really uncomfortable and, at the very least, borderline offensive to wheelchair users.
My Mum and I had an early dinner together and finished His Dark Materials while we ate. It was the first time Mum had seen the end and my second. God, the end just wrecks me; it’s so heartbreaking. Dafne Keen and Amir Wilson’s performances (and, of course, Ruth Wilson’s – I love her) are just incredible. I think series three is my least favourite, just because there’s so much happening that needs to be shown in order for the end to make sense but, when any of those three are onscreen (plus the scenes between Ruth Wilson and James McAvoy), it’s breathtaking.
I was freaking exhausted but I made myself go and do my hydrotherapy anyway. I tried – I really, really tried – but my back still hurt and I was so exhausted that I didn’t manage as much as I usually do. I was so tired that I felt like, if I’d rolled over and floated face down, my body would have been too tired to care and I would’ve just drowned. But going was better than not going and I had a nice time with two of my parents swimming too.

Back home afterwards, I put on Doctor Who, too tired to think any harder about what to watch, and kept working on my laptop. It was a struggle though because I kept getting distracted by the cats playing with their new donut toys, plus I kept falling asleep sitting up; I was that tired.

I dragged myself to bed, utterly exhausted, but then I was still awake at three for some reason. That was deeply frustrating; I was so tired but I just couldn’t sleep.
TUESDAY
I struggled to wake up, finally managing to drag myself out of bed around twelve; I was just so tired and the lack of decent sleep made me feel heavy and groggy. I don’t know whether it was connected or not but for the next few hours, I had some really miserable stomach problems that meant I couldn’t do much more than lie on the sofa. I felt hot and faint and nauseous and sweat was all but dripping off me. It wasn’t fun but eventually it did recede a bit and I was able to haul myself up and into the shower.
Back in the living room, I spent the next several hours working on blog posts, hanging out with the cats, and dreading therapy. I was just feeling so tired and raw that putting my feelings under a magnifying glass was the last thing I felt like doing. But I went and it wasn’t as bad as I’d imagined it would be: I’d recommended The Anthropocene Reviewed by John Green to her because I related to so many of the feelings and philosophies that Green had written about (my copy, full of highlighted passages and comments scribbled in the margins, is an incredibly revealing insight into my brain, into my emotions and experience of the world) and she’d just finished it so we decided to go through some of the things that had really resonated with me, especially in the context of my mental health. It wasn’t easy but it wasn’t as hard as it could’ve been. I do think our discussion made it clearer than ever that my depression is still hanging around, dark and heavy and cloying.
Back home, I spent the evening working on blog posts and trying to reduce the amount of open tabs on my laptop. For a while, there was some amazing heavy rain and that really helped to lift my mood; I’ve always found it so calming but also really invigorating. If I recall correctly, rain releases a wave of negative ions which apparently relieve stress and alleviate depression as well as boosting energy. I don’t know how much research is behind those findings but heavy rain and thunderstorms always have that effect on me.
I wrote in my diary for a bit and then started to go to bed early but got distracted by the piano. A little fiddle turned into a couple of hours as I started playing old and half finished songs; my early night became a distance memory when I got sucked into writing a bridge for a song I’ve always loved but never managed to finish.

When I eventually got to bed, I quickly planned out my route into London for the next day and then went to sleep around two in the morning.
WEDNESDAY
I struggled up early but kept falling asleep again, which resulted in me running around like a headless chicken as I tried to get ready to leave. I just managed to catch my train and spent the journey catching up with various family members, working on various blog posts, and listening to Maisie Peters’ album, The Good Witch. I’m obsessed with it.
It seemed to take ages to get to Richard (one of my best friends, my most trusted cowriter, and my producer) but I did eventually arrive, exhausted, out of breath, and hot. We hung out for a bit as I gathered myself, catching up and chilling. We were both tired but eventually we got going, settling into his studio to work on some music. We didn’t have a specific plan and ended up writing a new song together, based on an idea that I’d been turning over in my head. It was hard to start with, like we’d both forgotten how to write together after going so long without doing it – it did get easier but I think that, if we can get back to writing together more often, we’ll find our groove again (no pun intended). By the time we had to stop, we’d written a delicate little song based on The Nettle Dress, an art piece with an accompanying documentary.
That done and running late, we raced across town (my joints were deeply unimpressed – although admittedly I shouldn’t have tried to be a hero and just gotten the lift out of the tube station instead of trying to manage all of the stairs) to the O2 Forum Kentish Town for the Maren Morris show. We both love her and we always go to see her together whenever she tours here. My Mum met us there: I had a disabled ticket and she had the accompanying companion ticket since I find these environments so hard (concert accessibility is unbelievably terrible) and she knows best how to help me through them. The O2 Forum Kentish Town doesn’t have an accessible section (which, again, just blows my mind – how can they be a functioning concert venue that hosts acts as big as Maren Morris without accessible seating?!) but they offered me early access so that I could, in theory, get a suitable seat. That was very stressful but fortunately we did get in quickly enough to get a seat that wouldn’t leave me in excruciating pain the next day. The few in total that I could’ve used only fanned my frustration with them as a venue.
Sam Palladio was the support act and he was good but his musical style wasn’t really my taste; for the most part, I couldn’t stop thinking about him as Stoke in Episodes, which was pretty distracting. Ah well. I’m happy to simply enjoy the support slot; becoming a fan of the person filling that slot is a bonus considering they’re not the person you’re there to see.
Maren Morris was incredible, as always, and she played so many of my favourites, including ‘Circles Around This Town,’ ’80s Mercedes,’ ‘The Middle,’ ‘RSVP,’ ‘Nervous,’ ‘Once,’ ‘Second Wind,’ ‘Rich,’ ‘The Bones,’ and ‘My Church.’ Her voice was in top form and she’s such a great performer; it’s always such an amazing experience to see her live. I love how much London means to her, how she never fails to acknowledge how much she loves it. And to honour that this time, she played a brand new song called ‘Get the Hell Out of Here.’ That was really special.
It was a really, really awesome show. She’s such an amazing performer. My only regret was that she didn’t play ‘Humble Quest’ since I love it so much, but then it seems that we got a lot more songs than the rest of the tour did – plus a new song – so I really can’t complain. It is surprising to me though, since it is the title track of her most recent album. (The show had also meant I missed the Song Suffragettes show – and, as it turned out, the last one – which I was sad about because I love or am desperate to see most of the girls playing and see my friends who work the event but it couldn’t be helped. It’s Maren Morris!)
Richard and I hugged goodbye, repeatedly and effusively, before going our separate ways. A short bus ride later and I was on the train home. I was exhausted but I used the time to make sure my Ticketmaster and AXS accounts were linked up and organised, all the information stored clearly and carefully to hopefully make any ticket buying as straightforward as possible. It was a cold train on a cold night and even though I’d sat for most of the show, my joints were so sore (probably from the slightly panicked journey to the venue); I was hobbling by the time I got off the train.
I was very pleased to get home and into my bed but I needed some time to decompress before I could sleep. I was scrolling through BBC iPlayer, looking for something that would soothe the still surging adrenaline. I spotted Wallace & Gromit, consistent figures in my childhood, and ended up falling asleep as those stories played out.
THURSDAY
My alarm went off at the usual time but I ended up going to back to sleep. It was a very slow start to the day but I was just so tired and sore from the night before. I also had a throbbing headache so I figured I was dehydrated, having probably not drunk enough at the concert. I’ve been trying to drink more water (my hEDS comes with Dysautonomia so I’m quickly and easily dehydrated) but the habit hasn’t become ingrained yet and I’d been distracted by the trip to London.
I lay in bed for a while, looking through my photos from the night before. There weren’t many good ones. I would love to get a new camera – mine is probably ten years old now, if not more, and I’m finding myself increasingly unhappy with the quality of the photos – but between the cost of Taylor Swift tickets (fingers crossed that I can get them) and the looming expense of a new laptop (mine is dying a slow, painful death), I can’t afford it, at least not for a while. Hopefully I’ll be able to get one before hopefully seeing Taylor Swift next year.
It turned out to be a hard day. I did manage to get my budget clearly worked out for seeing Taylor (I’d had a rough idea, having been saving since The reputation Tour ended, but it needed to be hammered out, which I’ve now done) but I spent most of the day in tears, stressed and overwhelmed and exhausted; it’s never been clearer that I need a day off, that I’ve been doing too much and need to slow down a bit. The boost Phenelzine gave me seems to have worn off, at least to some degree, and now I’m left with more plans than I have the energy or emotional capacity for. Between the busy weekend ahead, my stress around money, and the fear that I won’t get to see The Eras Tour next year: I’d received a presale code but there was no information about disabled access and when we rang them to ask how to handle the ticket sale, the information was different from last time. It’s different every time. The whole thing is just getting more and more distressing; it’s just another aspect of the world telling me that, because I’m disabled, I don’t matter as much as the rest of the population.
So it wasn’t the best day and I struggled to get much done. I did some writing and posted on my cat Instagram – a throwback to when my lovely Lucy was a kitten – but that was about it, having lost so my of the day to panic and distress…
I had a quiet evening, watching New Tricks with Mum and working on a couple of different blog posts before going to bed.
FRIDAY
I could not sleep, no matter what I tried; I think three hours is probably a generous estimate if I totalled up the sleep I did manage to get. It was frustrating and boring but the timing could’ve been worse as it meant I was awake to listen to Speak Now (Taylor’s Version) when it came out. Given that her album releases are always at five am for me, I don’t get to join in the countdown with everyone online. So that was a bonus of sorts.
I always loved Speak Now – it was the album that had me absolutely invested in Taylor’s music – and I think this is the best rerecording of the three so far, in terms of how closely she’s managed to replicate the sound. The vault comes close to being my favourite, just after the vault on Red (Taylor’s Version): I love ‘Electric Touch (Taylor’s Version) (From The Vault),’ ‘I Can See You (Taylor’s Version) (From The Vault),’ ‘Timeless (Taylor’s Version) (From The Vault),’ and ‘Castles Crumbling (Taylor’s Version) (From The Vault)’ is fast becoming one of my favourite songs on the whole album. And the prologue is beautiful but heartbreaking; I’m tempted to call it one of the best non-musical things she’s written. Speak Now has always been about using her music to express her feelings and tell her side of so many different stories but this new prologue exposes a new side of that: that she was ashamed of not speaking up in the moment (something that she now tries hard to do) and that writing these songs was her way of coping with it, like she needed to prove to herself – and everyone else – that she could speak up. That undertone of shame is also present when you look at the songs she didn’t include at the time, in the context of the prologue: there are powerful emotions and experiences – the insecurity in ‘When Emma Falls in Love (Taylor’s Version) (From The Vault),’ exploring her sexuality in ‘I Can See You (Taylor’s Version) (From The Vault),’ and the pressures and fears that you can hear in ‘Castles Crumbling (Taylor’s Version) (From The Vault),’ for example – that it seems she didn’t feel able to share and thus an album about being honest wasn’t as honest as she’d intended. I have so many thoughts about this album already but I think I’ll save them for my albums post.
I got up around seven, bored of trying to sleep; I figured I’d have a nap later in the day if I needed one. My plans for the day had changed anyway: I’d originally been going to see Madeline Edwards at OMEARA that night, having seen her in Nashville and fallen in love with her album, Crashlanded, but she’d cancelled the show (with promises to come back soon). I was disappointed – I’d been really looking forward to seeing her perform again and seeing her perform a show after seeing her in a songwriters’ round capacity – but personally, it was probably a good thing that I didn’t have to travel up to London with the weekend I had ahead of me. I was already completely exhausted and it meant I could still go to therapy – not as much fun but still a worthy use of time.
I tried to have a restful day but I was so anxious about going to London Film and Comic Con the next day. It was my third attempt; my first was thwarted by COVID and the second by my anxiety. It’s not a happy environment for me and I was stressed about being surrounded by so many people and so much noise. I was also worried about messing up out of anxiety when meeting Amanda Tapping, my reason for going. So the whole thing had me basically paralysed by anxiety. I tried to do nice things, like watch my favourite TV shows and make bracelets (my current hyperfixation), but it was still a lot.
I went to therapy and we split the time between going over the coming days and my coping strategies before continuing with our discussions inspired by The Anthropocene Reviewed by John Green. I do like having something to prompt our conversations, especially when it’s a busy, stressful week; I feel like it allows us to keep moving forward, for her to keep learning about me, without flooring me the way sessions often do. When I’ve got something big the next day (or during the week), I can’t really afford to give everything to therapy. It’s a good way of still making the most of the time, at least for me.
Back home, I put on New Tricks (an oldie but such a goodie – apart from some of Brian’s mental health stuff) and continued resting, methodically making more bracelets. I wasn’t sure if I’d have the opportunity (or the confidence) to give the handful I’d made for Amanda to her but I wanted to be prepared. I also wrote out my letter for her (I wanted to make sure I could share the thoughts I wanted to share with her, even if I froze up in the moment) and chose the photo I wanted her to sign at the autograph booth (one from the final episode of Sanctuary – Sanctuary, my beloved).
One of my parents (one that doesn’t live with me and Mum) joined us for dinner and we caught up and continued our watching of Lucifer while we ate. I finished the bracelets I’d been making and went to bed early, very aware of how early I had to be up in the morning to get to London.
SATURDAY
I had a stressful early start but despite everything, Mum and I still made the train on time. Mum had a carer’s pass for LFCC; there was no way I could do it without her. Maybe one day but certainly not at this point, having already attempted to go and backed out because my anxiety over it was so paralysing. Even with her there, I was worried about getting overwhelmed and having a meltdown. But at least with her there, someone knows what to do; I wouldn’t have to manage something like that on my own.
On the train, I managed to get my new blog post up and then there was nothing left to do but wait and deep breathe until we got to London and then over to Olympia. Getting in as a disabled person was complicated and stressful – I absolutely would’ve had a meltdown if I’d been there by myself, without her to take over and cut through the chaos – but the people were really nice (one of them at least was autistic too) and skipped through all the complications to make it easier and get me through the registration and back out into the open hall and away from the dense crowd, which I really appreciated. We’d arrived in good time so at least I didn’t have to worry about that. We’d planned to be there just for the Amanda Tapping parts – the meeting and photograph, the autograph, and her talk later in the afternoon – so that I didn’t overwhelm myself when I was already anxious about my first trip to the convention but that meant we had a pretty big gap in the middle of the day; I hadn’t booked anything because I hadn’t been sure how the autographs worked. But according to the schedule Clark Gregg and Iain De Caestecker – both from Agents of Shield – had a talk right in that block of empty so I booked us into that.
I’d been well prepared and had the map on my phone so I navigated us up to the second level where the photo booths and autograph tables are. I spotted Amanda quickly and just stood for a while, watching people take their turn and trying to get an understanding of how the whole thing worked. But since it was just about time for her photo session, I didn’t join the queue; I’d just have to leave it again in a few minutes. So I found a quieter area to sit and wait, deep breathing to try and keep myself calm for the impending meeting. I was so anxious and so anxious about doing something stupid or embarrassing that would make me cringe for the rest of my life; I tried not to obsess over that possibility and just breathe but it was hard. My Extra Help wristband meant that I was allowed to go straight through for the photo – so I didn’t have to stand and didn’t have to spend too long completely surrounded by people – but there were still several people before me, which was a relief; that meant I could watch both how the process worked and how they interacted with Amanda (and how Amanda interacted with them, not that that had changed from when I met her back in 2018 at AT9 – she’s so open and warm) to prepare myself. When it was my turn, we hugged and I said how good it was to see her in real life and not on a screen. She was really lovely; I hate that the memory is already fading. We posed for the photo and then we said goodbye, that I’d see her at the autograph table. I don’t know how she does that kind of event; I’d be completely overwhelmed. My photo was printed right there and I collected it on the way out. I wish I was happier with it: my fringe rarely looks good in photos and I feel like I never look like myself in posed photos. But, as it turned out, it was the autograph moment that was really special.
The adrenaline was still pumping, my hands shaking, when I met up with Mum outside the photo booth and it took almost an hour for me to calm down. The adrenaline crash was making me feel sick and I was obsessing a bit over whether I should’ve done the autograph before the photo, whether I’d been too enthusiastic, and so on and so forth. The photo session had ended and, after taking a photo with Matt Smith, Amanda was back at the autograph table. I was really stressing about messing up but I knew that putting if off was just giving me more time to worry. At that moment, the queue was pretty short so I joined the end and pulled out the photo I’d printed for her to sign.
The photo sparked surprise from her helper person – I think everyone had one to take care of the admin of checking everyone off and getting names right – about her with long, dark hair, which Amanda laughed about and I expressed my love of Sanctuary and how important the show was to me, how it always will be. I gave her the letter I’d written, briefly explaining that I’m autistic and had worried that I’d get too overwhelmed to talk, which she took in stride (I was feeling pretty overwhelmed, talking to her face to face – although having no one behind me, waiting for me to move on, did help). I also gave her the bracelets I’d made and she was so gracious and so lovely about them, instantly noticing that both Mum and I were wearing others that I’d made. The conversation actually felt surprisingly easy and, like any fan I think, I couldn’t help wishing I had hours to talk to her and ask her questions. My Mum also grabbed a moment with her, thanking her for everything she’s done for me – for how much her presence in my life has helped me – from one mother to another. We all ended up quite emotional and Amanda stood up and gave us both a hug, saying that we’d made her weekend. I’m sure that we’re one of multiple moments that made her weekend but that meant a lot to me; I treasure that comment.
I was beyond hyped and very emotional after that and needed a quiet moment to myself in the bathrooms in order to bring everything back down to manageable levels, levels where I wouldn’t get tipped into a meltdown by the business and background noise of the convention. And by the time I’d managed that, it was time for the Clark Gregg and Iain De Caestecker talk.

Clark Gregg is so lovely, warm and open and affable, and although he was quieter, Iain De Caestecker seemed really nice too. They were clearly really good buddies and they told lots of funny stories; they were very enjoyable to listen to. It was really cool to hear how they got into acting and how some of their early roles shaped them and their approaches to their careers and their new projects sound interesting, although I’m not entirely sure Iain’s is my thing. They talked a little bit about Agents of SHIELD but I couldn’t help wishing that they’d talked about it a bit more, about their experiences on the show and with their castmates. I’m pretty sure everyone there was an Agents of SHIELD fan and would’ve welcomed any behind the scenes stories. On that note, I’m still sad about missing Ming Na Wen when my anxiety forced me to cancel and I would LOVE to see Chloe Bennet at a convention, although I’m not sure she does them anymore; she hasn’t done one in years, pandemic irrelevant. I can only imagine what an absolute mess I’d be if I had the opportunity to meet her, given how important the character of Daisy Johnson is to me; her acting is, of course, a big part of that.
When the talk ended, Mum and I found a table tucked away and had some lunch. We ended up chatting with a man who had a service dog, a gorgeous yellow lab or golden retriever, I wasn’t quite sure. But he was lovely and that got us talking. Now that I’ve been accepted to Autism Dogs‘ service dog programme (yes, I am SO excited about getting a service dog but I want to talk about that properly in its own post because the whole thing is a really big deal), I’m always keen to talk to people about their experiences and about their service dogs. This guy – he was also autistic but had his service dog due to being in the armed forces – patiently talked with me about his previous and current service dogs and even showed me photos of his dogs meeting various famous people; that made me laugh. While obviously not a good reason for trying to get an Autism service dog, I think that must be a super cool way of raising awareness about Autism and the needs of autistic individuals: posting pictures of your service dog with someone famous.
When the time rolled around, me and Mum headed down to the little auditorium area. I ended up making friends with someone in the queue and we spent the wait, discussing how much we love Amanda Tapping, about Stargate SG-1 and Sanctuary. She was having a hard time and, as the only person there, I did my best to keep her occupied until the talk began and then we were all absolutely occupied by Amanda. She walked out onto the stage and I noticed straight away that she was wearing three of the bracelets I’d made her – I thought I might explode with joy. (I couldn’t see, at the time, which ones she’d chosen and my photos turned out not to be clear enough. I ended up scouring social media for photos that would reveal them and, although it took several days, I did eventually get to see which ones they were, which made me very happy.)
I’ve always found Amanda to be a beautiful, thoughtful speaker. Even when answering questions from the audience, questions she couldn’t have prepared for, she speaks well, earnest and personable and funny, always engaged with both the person who asked the question and the audience as a whole. I think it’s because everything she does comes from a place of empathy. All of that said, the talk was really interesting and enjoyable. She told stories, from the set of Stargate SG-1 and Supernatural, and joked around with the host; she talked about her upcoming projects (although the future is very unknown with the writer’s strike going on) and how she’d been thinking about the future and what she wants to do next, how she’s told her agents that she wants to act again. That was very exciting to everyone. She also shared quite a lot about her life, like stories from quarantine times and how she prepares for these events and recovers after, and it was so lovely and such an honour to get a little glimpse into her world. The one thing that I felt was missing was any talk of Sanctuary, especially as her most recent starring role and a project that was such a world unto itself, driven by this small, emotionally invested circle. It would’ve made the experience perfect to hear a couple of stories from that time. I kept waiting for her to mention it or someone to ask a question about it but nobody did. I’d finally gathered the courage to put my hand up and ask a question about it (I can’t remember what it was now – probably something about how it differed to other shows she’s been a part of or about the character of Helen Magnus, another of my absolute favourite characters of all time) but it was too late; we’d run out of time and they weren’t taking anymore questions. But it was fine. The day had been amazing and the fact that I’d even considered asking a question was a really big deal. Maybe next time I go to a similar event, I’ll actually manage to ask one.
So, yes. As I said, it was an amazing day and an amazing experience, despite all of my anxiety around. It took me a while to process it all but when I finally felt like I could put at least some of it into words, I posted this…
When Amanda’s talk finished, Mum and I got going, heading back to the station and catching the train towards Manchester. Having been accepted by the Autism Dogs charity, we wanted to go to their fundraiser the next day to show our support and our gratitude. It was a bit of a trek though, especially after such a long, emotional day. I’d planned to work on the train but I was so tired that I ended up putting my head down on the table and sleeping for more than two hours. Oops.
It was pouring with rain when we arrived – absolutely tipping it down – and since our hotel didn’t do dinner, we picked up fish and chips and the hotel was really lovely and accommodating in letting us eat in our room. I was still falling asleep, literally wherever I stopped (like leaning on the bannister while the hotel staff member retrieved plates and cutlery for us); I barely made it through my dinner. We ended the day watching one of the Sanctuary episodes I had on my laptop (and were properly weirded out, watching Amanda with long, dark hair after just talking to her in person with short, blonde hair). We were both asleep early, probably by ten and definitely by eleven.
SUNDAY
Exhausted from the day before, it was a struggle to wake up early but I did eventually manage to force myself out of bed. The shower was super slippery and I nearly fell over several times, which was a bit scary, but I did survive – just – and then ran around like a headless chicken as I got myself ready and packed up. The cab was already waiting when I was done but then I got lost twice on my way out of the hotel. So… not the most graceful beginning to a day.
My Mum and I spent the morning at the Autism Dogs fundraiser, which was really enjoyable. We ate cake, met some gorgeous dogs, and watched the dogs compete in some very adorable competitions, including waggiest tale and several rounds of musical sits. It was all very cute.
The event being so far away meant that we didn’t know anyone there (apart from a few people from Autism Dogs) but we met a really nice family and ended up spending most of our time chatting to them (and their gorgeous dog). It was a really nice morning.
Then it was back to the station, a really long wait for the train, and a long series of trains home. The only thing of note was a really adorable corgi on one of them. I could definitely see myself having a corgi. But beyond that, it was long and cold and monotonous. I was completely exhausted – physically, mentally, and emotionally – so I didn’t manage to do anything on the journey; I ended up alternating between scrolling through social media and sitting back with my eyes closed.
Getting home was a great relief. It had been a really good weekend but, as exhausted as I was and needing to process everything that had happened, I really needed some time in my safe space without loads of people around. I was delighted to see the cats too; I hate being away from them. I went to bed ridiculously early and was asleep in minutes.
This post is – clearly – quite late. To be honest, I wasn’t sure if anyone cared, a fear that I often have about this blog, especially in my lower moments. But this blog really matters to me so I’m trying to ignore those whispers. This was a really cool week where some really special things happened and so I came back to it and pushed myself to get it done. I hope you enjoyed it, or at least found it interesting. It’s kind of funny; I think these are the posts where you can potentially learn the most about me but because they’re so busy, with so much happening in each one, that fact sometimes goes unnoticed. I don’t know. Maybe that’s just my runaway brain overthinking.
I hope you’re all doing well.
Category: adhd, animals, anxiety, autism, autism dog, book, chronic fatigue, chronic pain, depression, emotions, event, exercise, family, favourites, heds, hydrotherapy, medication, mental health, music, sleep, special interests, therapy, writing Tagged: ableism, ableist, accessibility, accessible seating, adhd, agents of shield, amanda tapping, antidepressants, anxiety, anxiety disorder, asd, attention deficit hyperactivity disorder, autism, autism awareness, autism dog, autism dogs, autism spectrum condition, autism spectrum disorder, autistic, chloe bennet, chronic fatigue, clark gregg, concert, concert accessibility, daisy johnson, depression, disabled access, duolingo, ehlers danlos syndrome, eras tour, exhaustion, fatigue, financial anxiety, friend, friends, friendship, healthy habits, heds, hydrotherapy, hyperfixation, hypermobile ehlers danlos syndrome, iain de caestecker, insomnia, john green, language, laptop, lfcc, lfcc 2023, london, london film and comic con, lucifer, madeline edwards, maisie peters, maren morris, medication, money, money anxiety, phenelzine, piano, revenge bedtime procrastination, sanctuary, service dog, service dogs, sleep, songwriting, speak now taylor's version, stargate sg-1, swimming, taylor swift, the anthropocene reviewed, the good witch, the nettle dress, therapy

Hi! I’m Lauren Alex Hooper. Welcome to my little blog! I write about living with Autism Spectrum Disorder (ASD), ADHD (Inattentive Type), and Hypermobile Ehlers-Danlos Syndrome (hEDS), as well as several mental health issues.
I’m a singer-songwriter (it’s my biggest special interest and I have both a BA and MA in songwriting) so I’ll probably write a bit about that too.
My first single, ‘Invisible,’ is on all platforms, with all proceeds going to Young Minds.
My debut EP, Honest, is available on all platforms, with a limited physical run at Resident Music in Brighton.
I’m currently working on an album about my experiences as an autistic woman.
Hi! I’m Lauren Alex Hooper. Welcome to my little blog! I write about living with Autism Spectrum Disorder (ASD), ADHD (Inattentive Type), and Hypermobile Ehlers-Danlos Syndrome (hEDS), as well as several mental health issues.
I’m a singer-songwriter (it’s my biggest special interest and I have both a BA and MA in songwriting) so I’ll probably write a bit about that too.
My first single, ‘Invisible,’ is on all platforms, with all proceeds going to Young Minds.
My debut EP, Honest, is available on all platforms, with a limited physical run at Resident Music in Brighton.
I’m currently working on an album about my experiences as an autistic woman.
Finding Hope