Gracie Abrams has never struggled to translate emotion into music, and Daughter From Hell only strengthens that reputation. Released on July 17 through Interscope Records, the singer-songwriter’s third studio album delivers another collection of sharply observed lyrics and intimate storytelling, even if it doesn’t always push her sound into new territory.
Before its release, Abrams described the record as more existential than her previous work, explaining: “This album feels more existential to me… it’s a bit less reactive. It doesn’t feel like a big shift for me in terms of the style but it feels like we’re mining deeper.” That philosophy is present throughout the album, which frequently trades dramatic pop moments for quiet introspection.
If there’s one criticism to make, it lies in the production. Outside of a handful of standout moments, Daughter From Hell rarely ventures beyond Abrams’ familiar confessional formula. From that perspective, the album feels slightly less adventurous than 2024’s The Secret of Us. Her sophomore effort successfully expanded her musical palette without sacrificing vulnerability, producing energetic highlights like “Risk,” “Close To You,” “That’s So True,” and “I Love You, I’m Sorry.” Those songs proved Abrams could embrace brighter, faster arrangements while maintaining the emotional precision that defines her writing.
Daughter From Hell scales that experimentation back. Across its 16 tracks, the consistency occasionally creates a sense of sameness, particularly during the album’s quieter middle stretch. The songwriting remains exceptional, but several songs blur together sonically rather than establishing distinct identities.
Fortunately, the strongest tracks remind listeners why Abrams has become one of pop’s most compelling lyricists. Lead single “Hit the Wall” stands among her finest releases to date, pairing deeply personal lyrics with an electronic pulse that gradually intensifies until it mirrors the emotional anxiety at the center of the song. Its hypnotic synth line introduces a welcome sense of urgency rarely heard in her earlier work.
“Look at My Life” continues that momentum. One of the album’s most immediate moments, the song channels the euphoric energy that made The Secret of Us so effective while examining fame, isolation, and self-doubt through restless production and memorable hooks.
Another highlight arrives with “Minibar,” an indie-pop standout that captures social anxiety through rapid pacing and fragmented storytelling. Instead of relying solely on delicate acoustics, Abrams embraces movement, making it one of the album’s freshest moments.
Perhaps the biggest surprise is “Good Reason.” Abrams has often downplayed her vocal abilities, recently admitting she doesn’t consider herself “a vocalist.” This performance argues otherwise. Her delivery carries remarkable control and emotional nuance, resulting in one of the strongest vocal showcases of her career.
See our ranking of all songs from Gracie Abrams’ new album, Daughter From Hell, below.
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