Maisie Peters - The Good Witch

'Do you think I forgot about you?' opens the title and first track of The Good Witch, with Peters declaring armageddon on this piano-led promise of forgiving but definitely not forgetting. It's almost a grown up version of the intro to her debut, You Signed Up for This, but even more angsty and polished.

We immediately follow into Coming of Age, the bass line of which immediately had me obsessed. It's a track to fully dance, scream and as Peters described it on her Instagram, '[redefine] your role in your narrative' to.

Watch hit me especially hard, and I'm certain it will too for those who have had to watch people walk out of your life and immediately move on without any warrant for your feelings.

Body Better is the lead single, and even listening to it on the full album, it still feels so fresh to me. I still haven't gotten bored of it, along with the second single Lost the Breakup. Peters' songwriting is so relatable and powerful and honest that it's truly hard to say you could ever be sick of the songs you've had on repeat the past few months, and been singing along to in your bedroom and as you walk the streets of Norwich (I’m hoping that's not just me)... Even a fifth of the way into the album, the production is noticeably sharper and punchier than You Signed Up for This.

The more heartbreaking ballads like Want You Back and Two Weeks Ago are gut-punchers but in the best way possible, perfectly capturing the moments of vulnerability post-breakup when you know you shouldn't go back but you just want to, so desperately, and you wish you had time travelling abilities just to feel okay again.

The Band And I is a beautiful testament to friendship and its power, but more specifically, the bond between Peters and her touring band. It's a soaring ode to her memories touring with them, and name drops just a few of the places in the US she's toured so far.

I heard You're Just A Boy (And I'm Kinda The Man) debuted on Peters' Road to Hammersmith tour earlier this year (my review is here), and the sass is still as palpable as it was in the live version. It calls out a lover for not keeping up and putting the effort in, opening with one of my favourite lyrics so far - 'I take in clowns like a one woman circus.'

Wendy rolls in with magical, whimsical production, perfectly suiting its lyrics - majorly inspired by Peter Pan, and Run follows it up with this hi-hat of clap-back energy, so fast paced and swiftly taking us through to the last five songs of the album. BSC was one of my most anticipated tracks, mainly because I was trying to decipher what the title could mean - my jaw dropped when I heard Peters belt out 'BAT SHIT CRAZY' and I made the connection! (I honestly fear for the man who broke her heart, he needs to watch his back after this). Therapy and There It Goes provide the post-breakup clarity of the album - I especially loved the potential callback to Love Him I Don't with the snow imagery in the latter. History of Man closes off the album, filled with historical references and a sum up of the difficulties of recovering from heartbreak and analysing why people do what they do from Peters' experience. She is such a natural storyteller, and how she continues to compel me and so many others with every song she releases is incredible. The album is a real score and soundtrack for every emotion you could feel after a breakup, no matter how it ended; hurt, jealousy, rage, nostalgia, melancholy, happiness, acceptance. Peters is one of the best songwriters my generation has, and I am forever grateful for the art she makes.

The Good Witch is out now on all streaming services.