On October 8th, singer-songwriter Maggie Rogers released the new single “In The Living Room”. Currently touring for her indie folk album With “Don’t Forget Me,” released on April 12th of this year, the Grammy-nominated artist didn’t wait long to release new material.

“In The Living Room” continues the indie style that Rogers curated in her latest album, but goes a little further with elements of alternative rock the folk sound that is evident in much of “Don’t Forget Me.”. This album is both a personal and imaginative scrapbook full of love and friendship, focusing on the nuances of caring for someone and finding a new beginning, and the new single fits right in that vein.

Producer Ian Fitchuk, who worked with Rogers on “Don’t Forget Me,” co-produced and co-wrote “In The Living Room” – which likely contributed to their stylistic similarities. Together with Rogers, the two created a song that tells of a past love story and its failure.

The heavy guitar and drum instrumental paired with clear, strong vocals bring to life the painful memories Rogers sings about. An electric guitar wails powerfully throughout the chorus, and the bridge builds tension until it reaches a peak of angst and vocalization that clearly fits Roger’s soulful style.

The atmosphere seems fresh and autumnal, with the line whistled before the chorus: “Cause I remember late September / Your silhouette on blue wallpaper.”

“In The Living Room” is bold, strong and powerful, with both its lively drums and cutting vocals, and it makes for an enjoyable sing-along. However, the lyricism falls short compared to her recent works and the single offers no new or captivating surprises to its audience – apart from her vocals, which really stand out.

The title track of Don’t Forget Me, the album’s first release, impresses the listener with lyrics full of originality and feeling – and the entire album maintains this standard. Based on such a work, the lyrics of “In The Living Room” seem comparatively more cliched and colloquial.

In an industry that produces a lot of music about failed attempts at love, the lyrics of “In The Living Room” don’t stand out. Rogers sings in the second verse: “You loved me hard and you were my friend / When the world felt empty” and then in the bridge part: “But when you think all about me / Hope it doesn’t freak you out”. No part of the song maintains the same lyrical standard as the countless heartbreaking lines in “Don’t Forget Me,” such as the thumping “Take my money, wreck my Sundays / Love me ’til your next somebody.”

Nevertheless, Roger’s singing shines – more than in previous works. Her belt and deliberate effort give the song meaning where the lyrics fall short. The intention behind her tone and the precision of the vocals give the song a punk edge that sharpens the work beautifully. She really expresses every word to the fullest.

While it’s a nice follow-up to “Don’t Forget Me,” this single doesn’t offer any new insight into Rogers as an artist. The title offers nothing surprising or unexpected – an aspect that would have been welcome after a beautiful but very homogeneous album.

Despite any shortcomings of “In the Living Room” compared to her other consistently high-quality work, Rogers proves her mettle. She embodies an authenticity that is becoming increasingly rare and continues to offer a powerful and jammy sound that adds shine to the rather uninspired current scene of important young female artists. Even though “In The Living Room” is less impressive from a lyrical perspective, it still manages to make every listener feel like they’re dancing in the living room.