Releasing music since she was a teenager, Faye Webster is a veteran. Her five albums have experimented with many sounds: country twang, dream pop, indie folk and alternative rock. In her latest album — despite some forgettable tracks — Webster successfully allows the listener into her lyrical diary. “Underwhelmed at the Symphony” is filled with longing and wistfulness for love, and the 37-minute record will make you lose track of time, getting caught up in her daydreams.
The album starts with “Thinking about You”, and its familiar Faye sound is a promising intro for the record. The lounging but irresistible beat, partnered with soft electric guitar plucks, invites listeners into Webster’s reverie over her lover. She imagines lying in her lover’s arms, reassured that they “were sure it’ll work out this time.” The repetition of the song’s title reflects the nonstop intoxication felt when thinking about the one you want.
Webster switches gears in “But Not Kiss.” It has an angrier tone, with Webster forcefully singing, “I want to see you in my dreams and then forget.” Lyrically, the song shows the push-pull one feels from a relationship, the good and bad parts. Musically, we see this paradox, too — the dreamy guitar paired with harsh piano riffs creates a dissonant and compelling sound.
Since I loved the musical and lyrical bite “But Not Kiss” had, I felt disappointed with the more straightforward tracks on the record. Tracks such as “He Loves Me Yeah!” and “eBay Purchase History” feature some desperately simple lyrics. Webster experiments with autotune on other unforgettable tracks, like “Feeling Good Today,” even though the song would’ve sounded much better without it. Her feature with Lil Yachty was intriguing on “Lego Ring” but the repetitive chorus annoyed even die-hard fans like me.
Webster slows it down in “Lifetime.” Guided by a twinkling piano and sublime strings, she dreamily reflects on her gratitude for a lover. Singing that “no conversation, I get you verbatim,” Webster sweetfully contemplates how grateful she is to have her partner. Although the lyrics aren’t totally innovative, her gratitude she feels “every minute” for her lover contributes to the constant repetition of the chorus. It feels like a meditation on love, and her soft voice guides you through all five minutes of it.
Two other songs I found to be sweet and wonderfully made were “Wanna Quit All the Time” and “Ttttime.” The former features her signature steel guitar, which is one of my favorite characteristics of her songs. She gets deeply personal and relatable in the track, struggling with overthinking and wanting to quit, ultimately deciding that she’ll “figure it out.” The album closer, “Ttttime,” is a tender track about the mundane things in life. Webster sings of waking up naturally, calling her mom while on a walk and completing her daily tasks, all while knowing she’s got “t-t-t-t-time.” Although it’s a decent track, the record would’ve had a much more satisfying ending with the stunning penultimate track, “Underdressed at the Symphony.”
The title track is by far my favorite off the record. The song that I thought should’ve been the last song on the album, “Underdressed at the Symphony,” is a whirlpool of psychedelic steel guitar, a steady drumbeat and piano touches. The music draws the listener into Webster’s musing over an ex-lover. She wonders, “Are you doing all the same things? I doubt it” — and fights feelings of wanting to see them again. These lyrics are some of the most personal on the album, and the lush string arrangements that conclude the song are my favorite example of her musical experimentation on the record.
Although “Underdressed at the Symphony” isn’t consistent in its soul-bearingness, the album as a whole still makes for great lounge listening. Webster’s continuous experimentation with her sound and lyrical capacity will make listeners dive deeper into her discography and discover more of what the soulful Atlanta artist offers.
“Underdressed at the Symphony”: ★★★★☆
