Playing on a television somewhere in 2004, the pilot episode of your favorite Y2K drama sitcom is on.
The studious female lead, her arms overladen with a river of literature, walks the streets of her quaint, charming small town. In the distance behind her, a mostly irrelevant background character—one that will appear for a total of nine seconds every sixth episode—remarks on the bright future of the girl, commenting on the sea of possibility that will await her after leaving the unrealistically picturesque community she calls home. As she trots along the leaf-infested sidewalks, a chilly fall breeze shifts her perfectly positioned hair. After finishing her fifth book of the day, she inhales a deep, autumnal breath and smiles a smile that only a main character would. As she continues her promenade down the neighborhood streets, the faint accruement of a familiar theme song begins to wash over the cease of her amble.
Upon first listening to artist Beabadoobee’s newest album, This is How Tomorrow Moves, a scene similar to this frolicked through my mind.
Amidst the first few seconds of Beatrice Kristi Laus’ third album—known predominantly by her musical pseudonym Beabadoobee—the vulnerable yet unapologetic tone of what has become one of the most highly anticipated indie-rock albums of the year is immediately set, and the “main character energy,” as some might say, serves as a theme that radiates throughout the entire course of the compendium.
The album begins with the bold and blunt “Take A Bite,” which was released on May 9 as the lead single for her project. Taking influence from 90’s alternative artists such as Fiona Apple and Elliot Smith, this idiosyncratic breakup track begins with a slew of sauntering piano riffs that are soon followed by the traditional heavy basslines that make a steady appearance throughout much of the tracklist. Rather than a more contemporary, bitter, and accusatory take on the lyrics that mark the end of her romance, Beabadoobee is unremorseful when admitting that her actions led to the demise of said relationship.
She explores this contemplative idea deeper when singing, “Sure, it’s easy to talk / But I take it and I eat it with a cherry on top,” wondering if her spiteful and self-destructive proclivities are often the blameful perpetrators when going separate ways with a partner. To cement this unrepentant legacy, she later writes, “Moving backwards (I wanna do it all over again) / Stuck in reverse (I wanna do it all over again),” saying that, despite the consequences of her own actions, she wishes to revisit the unsettled dust that covers her past relationships, just for the fun of it.
On track 11 of 14 comes the album’s latest single, fan-favorite song, and the artist’s favorite song on the album—”Beaches.” A euphonious blend of tangy guitar and warm, falsetto harmony, Beabadoobee blends her trademark sylphlike vocals with a contemporary optimism that eludes from much of the content of her respective genre. With a refreshing melody that drifts like a feather through the atmosphere of her song, Beabadoobee writes, “’Cause days blend to one when I’m on the right beaches / And the walls painted white, they tell me all the secrets,” an introspective look on the impassioned peace that the artist discovers in times of clarity and self-reflection. The lyricism in this chorus serves as an escape from the claws of uncertainty, a notion that Beabadoobee touches on in the former verses of the song, saying, “Spinning out on what to say or what to do / Finding reasons for my constant change of mood.”
The instrumentals bounce around her diaphanous timbre in a way that feels akin to that of a 2000’s coming-of-age-movie soundtrack. With every strum of the twangy bass guitar and pluck of her soulful acoustic 6-string comes a feeling of uplifting nostalgia that faultlessly accompanies the artist’s vocalistic talent.
Beyond just the leading singles comes a setlist full of pensiveness from the first introductory seconds of the album to its final adjourning moments. “Girl Song” delves into a feeling of insecurity and wavering self-image, a frustrating construct that traps Beabadoobee in a cycle of pessimism and negativity. She puts this sentiment to words, singing, “Just a girl who overthinks about proportions or her waist / The creases on her face / Day like no other, and just another bad day.”
Earlier in the album, “Real Man” garters the artist comparisons to Lana Del Rey’s “Brooklyn Baby” when she sings, “And I already told you I’m not part of the band / Please forgive me just for thinking it’s a fleetin’ romancе/ I guess no one evеr taught you how to be a real man.” On the penultimate track, “The Man Who Left Too Soon,” she proves she is unbounded by the walls of her own personal story and writes to all those struggling with a lingering absence in their lives as she ponders, “The irony of looking up to something / Or even just somebody / Can’t put the face onto the name.”
This is How Tomorrow Moves is not only an exploration of self-discovery and a reflection of Beabadoobee’s inner spirit, but a profound comment on the human condition as a whole, showcasing a journey through a nuanced emotional landscape that combines nostalgic indie-rock elements with a modern touch. The compelling narrative told in all walks of the artist’s life transcends her own inner world and extends to listeners through a soundscape of universal themes. A beautifully artistic and honest listen, this impeccable album, without a doubt, sets up Beabadoobee’s future work for success.
