Conan Gray, “Superache.”

The music of Conan Gray has always held a space in the in-between. He’s what would be traditionally described as feminine in his writing, delivery and fashion, yet regarded a pioneer of the emerging subgenera of pop that combines queerness with sad internet pop. He takes his time to craft cohesive albums, only to have a few singles take off with much more popularity. Mostly, it seems like he’s always about to figure something out and make things work, for it to then come crashing down and result in a song. For fans, this is a perk. For him, it’s probably a bit more emotionally taxing.

A slew of singles preceded his second album, Superache, the follow-up to 2020’s Kid Krow. “Overdrive” came early last year, and though upbeat and thrilling, it didn’t actually make its way onto the album. Instead, “Astronomy” turns out to have been the lead single. The song tells of Gray’s relationship, where despite both suffering from and bonding over the effects of “runaway fathers and mothers who drank,” the two cannot come together. Instead, they orbit on their own axis, two world’s apart. The track simmers, maintaining its mid-tempo pace—until the bridge when Gray pushes his vocals and belts, “oh, we’ve died.”

It almost got to the point of working but ended up celestially combusting.

“People Watching” finds Gray observant and lustful. He admits to never having been seriously in love, and despite seeing what real love looks like from those around him, he’s still the observer. “Someday, I’ll be falling without caution/ But for now, I’m only people watching” he sings as the chorus ends. The song’s tempo changes make it engaging and very worthwhile. 

The swaying, changeable chorus of album opener “Movies” makes for a definite crowdpleaser. Appropriately titled, it backs up the imagery and themes of films like “The Perks of Being a Wallflower” or “American Beauty” sprinkled through Superache in the observant songwriting and the album’s cover. Gray worked extensively with Dan Nigro, who produced his first album and debut EP, Sunset Season, and was the main contributor on Olivia Rodrigo’s Sour. There are similarities between Gray and Rodrigo, who are themselves best friends and both heavily influenced by emotive female singer-songwriters, namely Taylor Swift.

Swift’s signature styles are evident in many of the lyrics and the way songs are structured. On “Memories,” he dives further into the void of heartbreak, recalling his lover’s brown eyes meeting his in the doorway. They stand in the frame soaking wet from the downpour they traversed to get to his home. Check out the lyrics to Swift’s “Fearless,” and you’ll hear the likeness instantly. 

Directly preceding “Memories” is “Footnote,” narrating a similar story through another slow, melancholic song. Yet again, Conan Gray learns that feelings are reckless and he concludes that perhaps being a footnote in the person’s life is the best course of action looking forward. 

“Disaster” is spinning and fast-paced. Its inclusion is perhaps why “Telepath” and “Overdrive” didn’t make their way onto the album. Gray recounts leaving a party, and pairs the line, “This could be a disaster,” with a different follow-up every time. From “There’s so many factors,” and “I’m pedaling backwards” to “Now I’m falling in faster,” it’s another Swiftian songwriting display.

Despite many of Gray’s songs being about love and infatuation, his subjects are very vague. Many times throughout the album, it’s difficult to tell whether he’s singing about lovers or friends or people who’re both. The gender of his subjects is also difficult to figure out—which has always been the case and seems to be a deliberate choice at this point. “Best Friend” is perhaps the best example of this. It’s one of the more lighthearted takes on the album but shows him in a relationship dictated more by a genuine friendship and collective memories than by relentless passion or lust.

And that might just be why Conan Gray has seen the level of success he has. As a leading voice for Gen Z music, he effectively disregards factors that have long been expected of young male pop musicians, namely overtly displaying masculinity, and opting instead for artistry and emotion.

He doesn’t want to give you the whole scope of every relationship, but his lyricism and voice are just enough for it to work.

Follow Domenic Strazzabosco at Twitter.com/domenicstrazz and Instagram.com/domenicstrazz.