Maisie Peters, “The Good Witch.”

In a world full of love and breakup songs, finding an example that isn’t surface-level or full of cliches is hard. Up-and-coming British pop singer Maisie Peters has been on a mission to change that and accomplishes her mission on her sophomore LP, The Good Witch.

These 15 tracks weave in and out of the realities of heartbreak in a vulnerable way, the album also reflects on friendship, self-love and maturity. Told through a combination of stripped-down ballads and pop-rock anthems, the London singer-songwriter tackles life in her 20s with an authenticity that’s downright charming.

On “Wendy,” Maisie Peters sings about losing herself in a relationship with someone who isn’t ready. She analogizes J.M. Barrie’s “Peter Pan” in her story about the immaturity and selfishness that can exist when you don’t know what you want.

“Behind every lost boy, there’s always a Wendy,” she repeats in the chorus’ warning about the dangers of sacrificing yourself to help someone else figure those things out. On “History of Man,” she alludes to historical examples of man’s folly often presented as stories where the woman has failed. Essentially, the song speaks to the idea that no matter how much capacity women have for love, men still have the propensity to fail women in the end.

Don’t shoot the messenger. 

Peters employs is a diary-like approach to her songwriting (if you think this is new, you’re a new fan; welcome!). “Two Weeks Ago” is a piano-ballad about turning back the clock to a time you weren’t hurting. Peters keeps making wishes, ruminating on all the things she would have done differently, but they’re things as simple as holding tighter during a hug. The inflected innocence gives “Two Weeks Ago” a heartbreaking tone.

On the flip side, “BSC” is about the unhinged, angry phase of a break-up. Peters compares herself to Kathy Bates in Stephen King’ “Misery” (recalling her own earlier song “Psycho”) playing a crazy and vengeful character, while the object of her affection is unfazed. It’s humorous but reflects a very relatable confusion and rage.

Then there’s “The Band and I,” which stands out as a love song to her band; about  the adventures they’ve shared, getting descriptive about a snowstorm in Texas. The realization here is that criss-crossing America with your friends to play music has to feel pretty close to the American Dream.

Even though “Coming of Age” is on the surface about a breakup, it plays like an anthem for anyone who’s chosen to not let a negative event shape them.

“But it’s my song and it’s my stage/ And it’s my coming of age,” Peters belts out over a strong backbeat, bass lines and loads of percussion. Layered vocals give it a choir-like, chanted  feel, adding to its anthemic quality.

Maisie Peters is still bubbling just below the surface of American consciousness. Opening for her friend, mentor and label-head Ed Sheeran at stadiums across the country may push her higher. But she’s already one of the most personable solo pop artists and there’s no getting around it.

Follow writer Piper Westrom at Twitter.com/plwestrom.