Album Review: Maddie Zahm – ‘Now That I’ve Been Honest’
Maddie Zahm cements herself as one of the most important new voices with debut album ‘Now That I’ve Been Honest’, a compelling record sharing the songwriter’s most defining recent experiences.
While many may know her from breakthrough hit ‘Fat Funny Friend’, Maddie Zahm has already proven that she isn’t another TikTok one-hit wonder. Last year, the Idaho-native detailed the movingly personal story of leaving her hometown and coming out in her critically acclaimed ‘You Might Not Like Her’ EP.
‘Now That I’ve Been Honest’ continues to document the 25-year-old’s personal growth as she learns to let go of past identities and embrace new ones. Never shying away from topics that are difficult to talk about, the 12-track LP delves into everything from religious trauma to queer relationships.
Opening with a dazzling piano-led introduction, ‘Where Do All The Good Kids Go?’ immediately sets the tone for the record. Thematically and sonically, it bridges Maddie’s most recent EP to the current body of work. In recounting the crippling impact of being titled a ‘good kid’ against a backdrop of atmospheric production, it poses a leading question that the rest of the album seeks to answer.
‘Eightball Girl’ provides a first step in the process of self-acceptance. With a killer hook and electro-infused production, it captures the euphoria of Maddie’s first girl crush, while dealing with the uncertainty and frustration of not knowing whether feelings are reciprocated. The track’s antithesis, ‘Thanks For Coming Out’, is cleverly placed straight after. Far from the elation of feeling free to express your sexuality, the gut-wrenching track plunges the listener back to the reality of being closeted, with swelling synths and a haunting piano.
Fiery power anthem ‘Lady Killer’ is undoubtedly a standout. Electrifying riffs and soaring vocals culminate to form an ear-catching chorus that is both fearlessly bold and sultry. Fuelled with infectious feel-good energy, it proves that Maddie is capable of far more than just sombre ballads.
Situated at the heart of the album is ‘Robin Williams’. A stunning testament to the much-loved star, the 3-minute track candidly reflects on life. Laying out her deepest thoughts, Maddie sings ‘If the American Dream was really fulfilling, then maybe we’d still be watching Robin Williams’.
Alongside new offerings, the record features much-loved singles, including early 2023 breakup hit ‘STEP ON ME’. With grooving guitars and shimmering synths reined by endearingly honest songwriting, it perfectly highlights the versatility of Maddie’s ever-evolving sound.
Grappling with the inescapability of a former partner, ‘Bedroom’ takes on the edginess of ‘00s pop-rock, finding catharsis in punchy drum lines and grungy guitars. Meanwhile, gospel-infused ‘Lights On Kind Of Lover’ sees Maddie liberate herself from the purity culture of her youth.
Penultimate track ‘Pick Up The Phone’ is the most vulnerable cut of all. An outpour of raw emotion, it details the crippling effects of mental illness. Layered vocals and ambient beats perfectly encapsulate the feeling of being trapped in your own thoughts, with tantalising climaxes speaking to the prevailing sense of desperation.
‘Growing In’ offers a final glimmer of hope to complete the body of work. Enveloped by intricate instrumentation, thoughtful lyricism asks ‘Am I growing up or am I growing into by skin, and my age, and my surroundings’. Closing with a message to her younger self, Maddie answers the question she laid out in the first track: the good kids are very much still here, and well on the way to finding themselves.
Capturing the complexity of self-discovery through eclectic songcraft, ‘Now That I’ve Been Honest’ sees Maddie deliver some of her best work to date.
Words by Emily Savage
