Singer Faye Webster, the second performer at the Here and There Festival alongside Courtney Barnett, Snail Mail, and Hana Vu at Beak and Skiff on August 14, 2022, captured by Dennis Nett (via TNS).
Faye Webster’s musical journey spanning more than a decade appears akin to a partially obscured diary. Her lyrics, laced with sarcasm and poignant with suppressed sentiment, often delve into life’s minutiae, from her canine companion to the fleeting dreams that dissipate upon waking.
With the recent release of her fifth studio album, “Underdressed at the Symphony,” Webster offers a peek into her introspective diary, enriching her signature musical fusion of bedroom pop warmth, rock influences, R&B undertones, and orchestral flourishes.
The album kicks off on a high note with “Thinking About You,” exuding an irresistible groove that sets the stage for Webster’s velvety vocals.
The laid-back yet captivating rhythm, accompanied by glistening xylophone melodies, transports the audience into Webster’s reverie of drifting off to sleep in the comforting embrace of a lover, tentatively trusting in the hope that “it’ll work out this time.” The hypnotic repetition of the track’s title in the chorus and outro mirrors the euphoric delight of reminiscing about a loved one.
Following suit is the second track and lead single, “But Not Kiss,” arguably one of the album’s sharpest and most compelling pieces. Thematically, it navigates the delicate balance between budding affection and paralyzing uncertainty.
Webster’s vocals soar to the brink as she romantically declares her relationship as “meant to be,” juxtaposed with the hesitant caveat, “but not yet.” The musical arrangement mirrors this emotional tug-of-war, with dreamy steel guitar interlacing with discordant piano riffs to craft a dynamic and poignant composition.
While the potency of “But Not Kiss” is undeniable, one yearns for a more frequent appearance of such lyrical and musical intensity throughout the album. While many listeners resonate with Webster’s portrayal of perpetual ennui and the desire to quit, the straightforward grievances, as seen in tracks like “eBay Purchase History” and “Wanna Quit All the Time,” can feel somewhat repetitive.
Although “He Loves Me Yeah!” injects a refreshing dose of optimism with its distorted guitar and vibrant piano accompaniment, the lyrical content remains overly simplistic.
Webster’s lyrical style typically leans towards the understated, yet at its zenith, her mundane reflections hint at deeper, unspoken emotions and thoughts. The repetitive nature of lines like “My baby loves me, yeah, he loves me, yeah/I think we’re perfect, yeah, we’re perfect, yeah” lacks the depth or allure found in her more nuanced musings.
However, not all lyrics need to be profound to resonate with listeners. A prime example of this is “Lego Ring,” a collaborative effort with rapper Lil Yachty.
While the repetitive nature of the lyrics, fixated on the desire for a “Lego ring,” may not be Webster’s most poignant, within the context of her subdued lyricism, this seemingly whimsical desire could symbolize a tumultuous yet passionate romance.
Beyond the lyrics, the track’s rich musical tapestry, featuring a dense background guitar drone, crisp piano accents, and a psychedelic chorus breakdown, elevates this playful composition. Yachty’s distorted backing vocals complement Webster’s voice, seamlessly blending the verse’s edgy instrumentals with the infectious chorus.
Singer Faye Webster, the second performer at the Here and There Festival alongside Courtney Barnett, Snail Mail, and Hana Vu at Beak and Skiff on August 14, 2022, captured by Dennis Nett (via TNS).
The rapper’s jovial outro, complete with infectiously jubilant albeit light-hearted lyrics such as “Me and you the dream team, always together like string beans,” mirrors the song’s whimsical and collaborative essence.
The subsequent track, “Feeling Good Today,” finds Webster navigating the mundane in search of a reason to celebrate: from having breakfast before noon—a personal feat—to being unfazed by the intrusion of bugs thanks to the presence of an exterminator.
While a relaxed guitar backdrop maintains a breezy atmosphere, this track doesn’t exalt the small victories of daily life with fervor. True to Webster’s style, her delivery of relatable lyrics, such as splurging on frivolous purchases post-payday and dabbling in fleeting hobbies, exudes a nonchalant charm.
Despite potential reservations regarding the Vocoder-altered vocals, I appreciate Webster’s willingness to experiment, a choice that complements the subtle blend of humor and veiled sorrow in her lyrics.
Webster takes a contemplative turn with “Lifetime.” Set against a languid, R&B-infused beat, delicate piano embellishments, and ethereal strings, she wistfully reflects on a lover who has become an indispensable part of her “lifetime.”
While the lyrics may not be overtly profound, the sentiment of understanding her partner “verbatim” without verbal communication resonates deeply. Each repetition of the chorus, a focused ode to love, underscores her gratitude for a companion who fills every moment of her existence.
In the closing track, “Tttttime,” Webster anticipates an impending sense of boredom within half an hour. While a solid addition, the album could have culminated more poignantly with the penultimate title track.
“Underdressed at the Symphony” immerses listeners in a whirlwind of psychedelic guitar, punchy chords, steady drumbeats, and delicate piano touches, inviting them into Webster’s introspection on a past lover.
Among the album’s most intimate and poignant moments, Webster’s recollections of an ex’s oblivious mother inviting her in and the shared tears shed while “underdressed at the symphony” strike a deeply personal chord.
The lush orchestral arrangement following this reminiscence is a standout, showcasing Webster’s playful experimentation at its best.
It is in these instances—where Webster strikes a harmonious balance between the individual and the universal, the experimental and the refined—that her artistic prowess shines through.
While “Underdressed at the Symphony” may not consistently dazzle, the album as a whole serves as a pleasant sonic backdrop. With her daring musical explorations and lyrical potential, I eagerly anticipate further insights into Webster’s everyday escapades and reveries.