Early last year, Portsmouth-born, Canada-raised 19-year-old Lauren Spencer Smith scored a TikTok-assisted global hit with Fingers Crossed, a musically delicate, lyrically damning takedown of a useless ex with a serious case of daddy issues. Its success led to comparisons with Taylor Swift and Olivia Rodrigo, specifically the latter’s Driver’s License, both songs favouring precise, diaristic songwriting that feels immediately relatable.
Fingers Crossed forms the template for much of Spencer Smith’s debut album. Never Been in Love and Love Is an Overstatement similarly blossom from quiet beginnings into vast choruses detailing relationship woes, while Best Friend Breakup shifts lyrical focus from former lover to former best friend. It’s clearly a successful formula, and Spencer Smith’s big voice shines throughout, though it starts to feel staid across Mirror’s 15 tracks.
Thankfully there are a few frayed edges that add extra sonic textures; the Gayle-assisted Fantasy prowls around booming drums, while 28’s brooding tale of lies and their repercussions is suddenly upended by shards of guitar noise. These are flashes of things to explore, but overall Mirror plays the emotional bloodletting a little too safe.
Early last year, Portsmouth-born, Canada-raised 19-year-old Lauren Spencer Smith scored a TikTok-assisted global hit with Fingers Crossed, a musically delicate, lyrically damning takedown of a useless ex with a serious case of daddy issues. Its success led to comparisons with Taylor Swift and Olivia Rodrigo, specifically the latter’s Driver’s License, both songs favouring precise, diaristic songwriting that feels immediately relatable.
Fingers Crossed forms the template for much of Spencer Smith’s debut album. Never Been in Love and Love Is an Overstatement similarly blossom from quiet beginnings into vast choruses detailing relationship woes, while Best Friend Breakup shifts lyrical focus from former lover to former best friend. It’s clearly a successful formula, and Spencer Smith’s big voice shines throughout, though it starts to feel staid across Mirror’s 15 tracks.
Thankfully there are a few frayed edges that add extra sonic textures; the Gayle-assisted Fantasy prowls around booming drums, while 28’s brooding tale of lies and their repercussions is suddenly upended by shards of guitar noise. These are flashes of things to explore, but overall Mirror plays the emotional bloodletting a little too safe.