My friend told me recently that Gracie Abrams’ newest album The Secret Of Us: Deluxe Version was “too basic”. At first, anger and defensiveness consumed me, but as I thought further about it, I couldn’t help but find myself agreeing.
As both a singer and singer writer, the songs on her album are all written by her. Despite this, looking at the actual song structure of the album, there is a lot of rinse and repeat.
Most of the album’s backtracks come from Abrams’ guitar. Chord progressions are defined by the half steps a note takes from one to the other. These progressions are the basis of all songs, from pop to country, and are important to help understand the ‘breakdown’ of music. One of the most used progressions in pop music uses the first, fifth, sixth, and fourth chords of a major scale. The order is typically I-V-VI-IV (1-5-6-4), but many pop songs recently have chosen to rearrange the order.
In Close To You, Abrams uses these same chords. She repeats the order of I-IV-VI-V (1-4-6-5) throughout the song, specifically the chorus. These chords have been re-used and can be seen in more than just one song including Let it Be by The Beatles or No Scrubs by TLC.
Rhythm, while mainly related to rap music, is also a building block for pop music. The sixteenth notes and triplets that singers perform in each song push the tune forward and are essential to engaging audiences. Abrams uses this tool to create the bridges of her songs, which are seen blowing up on platform after platform.
In the fourth song of the album I Love You, I’m Sorry, Abrams utilizes a sixteenth triplet rhythm with an eighth note throughout the bridge. In simple terms, it is three smaller beats with the same length and one larger beat with double the length. It can be thought of in numbers: it is like adding ⅙ + ⅙ + ⅙ and then ½ to create one full beat.
This triplet pattern can be seen very commonly in pop music. Known for its waltz-like feel in classical composition, a notable example of triplets in music is Lover by Taylor Swift. In the chorus, as Swift sings “my-y-y”, the rhythm is split into three mini beats.
It is painfully true how basic Gracie Abrams’ newest album is, but that does not mean that it is bad. The same repetitive chords and meters are undeniable. Audiences have heard these patterns hundreds of times, yet the emotions that Abrams evokes from her audience is anything but ordinary.
The album beautifully portrays Abrams’ own experiences with guilt, grief, and growth. It opens with Felt Good About You, which explores the complex emotions of accepting the moments in which relationships turned from positive and welcoming to toxic and closed. Listening to it, I felt my heart tug with each chord, reminiscing yet trying to accept that the good moments were only in the past, not present.
Abrams’ journey throughout this album continues by diving further into the elaborate nature of relationships. In Good Luck Charlie, Abrams writes about mourning the end of a friendship, yet only wishing the best for the other person. As she repeats “I hope you’re happy”, I feel myself continue to become more captivated with each note and falling down a hole of my own emotions. The experience of being the ‘bigger person’ is all too real, especially for high schoolers, as they navigate the terrifying beginnings of friendships and romances.
She ends her album with the solemn tones of Packing It Up. Demonstrating the ‘light at the end of the tunnel’, Abrams talks about being ready to pack up her whole life and finally leave everything behind. She meets someone, though, and decides to stay and give love one more chance.
Music will always be first and foremost an art form, and art is meant to cause the audience to feel something. I can confidently confirm all the rollercoasters of emotions audiences can feel while listening to The Secret Of Us. The Secret Of Us stays exactly as it sounds: a story that both Abrams and the audience can relate too. So, while the album might be as ‘basic’ as it gets, it remains one of the best albums I have ever listened to.
