Webster’s voice has evolved since I Know I’m Funny Haha
What is the evolution of an artist? Is it merely them getting better, whatever that qualifies as? Or, is it a slow crawl forward that amasses style and ideas until the artist carries forth what they’ve carved out as theirs?
Pressing play on Faye Webster’s album for the first time may provoke a sense of familiarity. In ways, Underdressed at the Symphony has been a long time coming for fans with the release of its first single back in July. “But Not Kiss” juxtaposes Webster’s quieter, gentler voice, with a strong vamping piano section and drums that pull the listener along into the one-word show of the chorus.
Presenting other singles, “Lifetime,” “Lego Ring,” and “Feeling Good Today,” alongside “But Not Kiss” gave listeners a chance to not only preview the album, but also grow more excited for what the record was to present on March 1.
What makes Underdressed at the Symphony so fulfilling to hear is the cumulative feeling of an artist coming into their own with all the tricks they’ve learned so far. Faye Webster brings forth elements from across their entire discography to give life to new tracks; the slide guitar, that well-mixed pocket feeling of a band, the strings (which one must recognize most clearly from Car Therapy Sessions!), it’s all on display here without feeling like Webster is trying to rollout B-sides.
Even more than old tricks, the use of new electronic elements in tracks like “Lego Ring” (a collaboration with Lil Yachty, long-time friend!) and “He Loves Me Yeah!” show off Webster’s interest in vocoding. Her voice, still carrying the control and precision of previous albums like I Know I’m Funny Haha, has also evolved to be used as an instrument – one that has limitless potential to master.
“eBay Purchase History” focuses on a strong percussive element, with drums, bongos, and a güiro all layer together to conjure a playfulness that contrasts the song’s concerns with attention and of people knowing a little too much. “Tttttime” continues this playful feeling, allowing for the more serious tracks on the album to breathe and hold their own space.
The title track, “Underdressed at the Symphony,” is beautifully meditative. Sliding guitars reel you into the shore and a warm string section wipes your tears, the heartbreak and wonder of what an ex is getting up to chirps into the piano vamp – a section barely longer than twenty seconds but stretching out into the musical record for a lifetime.
