Maggie Rogers, “Don’t Forget Me.”

Maggie Rogers’ innovative debut album bolstered her fame. Then, her sophomore record, 2022’s Surrender, switched tones toward a bolder pop-rock sound that matched her strong voice and assured energy. Two lead singles from her third album offered a promising vision of another change of pace, this time to a more rustic and cozy sound. As a whole, the album doesn’t deliver the big heart and folky comfort found in the early singles, or her strong first two albums, instead opting for bland pop.

Rogers titled the album Don’t Forget Me, as if she knew doing so would be a challenge.

Opening track “It Was Coming All Along” is a sunny anthem for a coastal road trip, with lyrics that acknowledge self-doubt but stay positive, introducing the album’s sentimental yet sweet themes of getting older, giving up and getting back up.

“I’m crying, but I know it won’t last for long,” she sings.

“Drunk” follows, with a sound reminiscent of Sara Bareilles’ early 2000s pop. Bareilles is great, but Rogers’ approach 20 years later doesn’t seem to add anything new to freshen the sound. As always, Rogers’ voice  voice is melodic and passionate, but the chorus melody doesn’t draw you in. “The Kill” has the same problem, but it’s still an enjoyable mellow moment, especially with its nostalgic reflection on a past relationship.

“Remember the days we used to drive upstate/ Singing indie rock songs in the car/ You wore your fresh leather and blamed it on the weather/ For being the reason you werе,” Rogers sings.

Pop tune “So Sick of Dreaming,” a single, embraces soft country tones. Rogers’ casual singing glides over the twang as she calls out someone’s superficiality. It’s one of the album’s high points and one reason I had my hopes set high. “If Now Was Then” is another sweet moment, with Rogers switching back and forth between tender falsetto and a more hearty chorus. This one gets the soft pop sound right, with laidback percussion and a melody that highlights her voice just right.

Standing out from the rest of the record’s guitar playing and soft drumming, “I Still Do” depends solely on piano and Rogers’ emotional singing. The romantic ballad is sweet, and Rogers once again uses her raw vocals as a tool to convey how passionate she is about what she’s singing about. But without any memorable elements, it’s gone as soon as the next song starts. The same can’t be said about Rogers’ performance on penultimate song “All The Same.” The better ballad of the two, it offers a fluttering delicateness that Rogers ought to return to in the future.

“Never Going Home” brings back the acoustic guitar strums for another fine and easily forgettable pop moment, lacking the rustic sound promised by the best songs on the project.

Single and title track “Don’t Forget Me” closes the album, and is easily its strongest point.

“My friend Sally’s getting married/ And to me that sounds so scary/ I’m still trying to clean up my side of the street,” Maggie Rogers sings, reflecting on aging and trying her best to catch up. The chorus recognizes the beauty found in simple joys, though: “Close the door and change the channel/ Give me something I can handle/ A good lover or someone who’s nice to me.” Hearing the song for the first time, you may think you’ve known it your whole life. The melody feels like home. Its warmth evokes images of cozying up by a fire and its clarity conveys a clear creek in the woods.