Maggie Rogers - Don’t Forget Me

by Easton Parks

With her third album to date, Maggie Rogers’ Don’t Forget Me sounds more confused and rushed than any she’s released. 

Written and recorded in the short span of five days with producer Ian Fitchuk, a frequent collaborator with Kacey Musgraves, Rogers’ attempt at a denim-idealized country-tinged pop album is just that; an attempt. Following a popular feature on “Dawns” by Zach Bryan and her song “Horses” off of Surrender, her previous project, Rogers’ entry into this lane was bound to happen. Surrender hit musical highs with blissful electro-pop anthems such as “Want Want”, in addition to sweet tender moments like those found in “I’ve Got A Friend” with Rogers’ referencing Clairo. These highs aren’t nearly as prevalent on Don’t Forget Me, and if anything, it pales in comparison. 

This project combines a country-adjacent approach with more personal lyrical themes across the album in which Maggie dives into her past with plenty of regrets to share. Expressing herself in a spoken-word fashion in “So Sick Of Dreaming,” she tells a story about being stood up because her date had Knicks tickets (and they still lost). As a single, and one of the better tracks in the project, “So Sick Of Dreaming” is the type of highlight expected with catchy hooks and danceable grooves, but the singles were the only true high points.  The titular closing track, “Don’t Forget Me” reflects on Maggie’s misunderstanding of her friend's relationships and yearning for something nice as she refrains, “Give me something I can handle / A good lover, or someone who’s nice to me.” This is where she is at her best, with catchy and relatable lyrics at the forefront of the song as well as highlighting her unique vocal power. 

Starting the project with “It Was Coming All Along” sets a listener up for false hope as it’s one of the better blends of reverb-ridden guitars and uses of texture. Directly following the opener is “Drunk,” a track that just feels wrong. Whether it’s the range Maggie is singing in, the driving instrumentation or the verses and choruses struggling to be compelling in the slightest, this song flops like a droopy dog’s ear. “On & On & On” starts strong with groovy verses but transitions into a stale disingenuous chorus reminiscent of country pop radio, which is cool if you’re into that sort of thing (if you can’t tell, I am not). “If Now Was Then” is a nice cut, and would be even better if it was surrounded by more well-rounded songs. Reminiscing on seeing a former lover at a party comes across naturally from Rogers, which contrasts a good chunk of the tracklist. “I Still Do” and “All The Same” are decent ballads but seem out of place between derivative half-country-half-pop songs. 

Written in five days, this album feels like a last-minute final essay worth half your grade; typically not the smartest way to achieve an A. Confused about what genre it wants to be, Maggie Rogers’ attempt at blending pop and country on Don’t Forget Me doesn’t work. If only refined through more time and curation, this lane could be one of promise, but instead, Rogers’ ambition swings for the fences and creates the best not-good album this year.