Friday, singer-songwriter Lizzy McAlpine released her fourth studio album — a 14-track record titled “Angel.” The release follows her third album, 2024’s “Older,” which took McAlpine in a vastly different musical direction than her previous projects. On “Older,” McAlpine traded the pop production and electronic backing that characterized her early work for acoustic instrumentals and folk stylings, creating a fresh sound that felt wholly original to McAlpine.
However, in the wake of “Older,” McAlpine decided to pursue a new musical venture. She fulfilled her lifelong dream of performing on Broadway, playing Nellie Collins in a 2025 revival of the folk musical “Floyd Collins.” McAlpine has stated that her experience on Broadway had a deeply positive impact on not only her personal life, but also her voice and songwriting. Thus, an exciting question accompanied McAlpine’s announcement of “Angel” in July 2026, about how her music and lyrical content would change in response to her Broadway debut.
“Angel” opens with “The light in the painting,” an ethereal love song that echoes the familiar sounds of “Older.” Organ chords hum beneath McAlpine’s airy voice as she sings about her romantic partner, saying they are the “light in the painting / that [her] eye is drawn to first.” Love songs are somewhat rare in McAlpine’s discography, making this track a perfect starting point for a record exploring growth and change.
“Anybody’s fool” follows as a quiet piano ballad about the complexities of healing from a breakup, but the third track “A car wash and a new pair of pants” takes the record in an intriguing new direction. The song reflects on McAlpine’s former partner and their lust for fame, blending the folk stylings of Joni Mitchell with the lyricism of musicals like “Floyd Collins” to create a beautifully unique sonic experience. McAlpine sings, “Always tried to keep fame as your mistress / I just loved you,” lyrics that could fit perfectly into both a folk record and a Broadway score. Few artists can draw so naturally from two vastly different influences, but McAlpine makes this musical fusion feel wonderfully organic.
In “A car wash and a new pair of pants,” McAlpine’s now-Broadway-trained voice floats effortlessly over complex melodies, which are continued on “I have a friend” and “The moon.” These songs toe the same line between musical theater and classic folk, but take the record into a more romantic sphere. “I would sit here my whole life / I would sing to you all day,” McAlpine sings on “I have a friend,” a stunning love song that captures the intimate moments of her relationship.
More mainstream pop-folk appears briefly in “Ugly things,” which is followed by the somber ballad of “Soldier of the road.” The song depicts McAlpine’s struggles with being a touring musician, using deep instrumentals accompanied by the smooth vocals and finger-picked guitar of Fleet Foxes’ Robin Pecknold.
McAlpine and Pecknold harmonize over dark lines such as, “We let it take its toll / Say, you know that’s rock and roll,” with McAlpine even including samples of a crowd cheering to build her tense sonic atmosphere. This song’s production is truly singular, but successfully balances the musical experimentation of “Angel” with the powerful lyricism that made “Older” so acclaimed.
“Peach” swings back in the Broadway direction as McAlpine contemplates her long-distance relationship with another musician, belting out lyrics and showing off her matured voice. Folk returns in “Over country,” an emotional love song featuring only acoustic guitar, piano and McAlpine’s raw vocals.
Poetic lyrics are the centerpiece of “Over country,” with heartfelt lines like, “Someone loves me / Over what he does not understand” — potentially referencing McAlpine’s challenges with her mental health and personal wellbeing. The song feels like classic McAlpine, distilling her sound and lyricism down to a simple, but powerful state.
However, “Two elevens” turns McAlpine’s style on its head as she, for the very first time, uses autotune. McAlpine typically works in the opposite sphere of vocal tuning, often using original voice memos or purposefully raw vocals in her songs. “Two elevens” thus becomes an interesting addition to McAlpine’s discography, but does not feel severely out of place. Her lyrics about remembering the love contained in an old relationship still feel like classic McAlpine, as does the song’s folk instrumentation. Her use of autotune may at first sound strange to long-time listeners, but her use of the device is ultimately tasteful rather than incongruous.
The album nears its end with “Our strange ways” and “Mason’s song” — the latter being a touching ode to McAlpine’s long-time collaborator Mason Stoops, who helped produce “Older” and “Angel.” These heartfelt songs bring the record back to its folk-meets-Broadway roots, preparing for the album’s most emotional track, “The crowd.”
On every Lizzy McAlpine record, the 13th song is dedicated to her late father, who passed away on March 13, 2020. “Angel” honors McAlpine’s father with “The crowd,” which McAlpine performs by herself on the piano. McAlpine laments how few memories she has of her father and how little he saw of her life, writing one of her most powerful choruses around the words, “Everything I do / I make it big so you can hear the crowd.”
“Angel” closes with its title track, a song that captures McAlpine’s journey of personal growth and healing throughout the events which inspired this record. The song hums with the influence of Joni Mitchell, while the slide guitars of “Older” return alongside Broadway-inspired harmonies. The song feels like McAlpine at her best, bringing all of her musical influences and personal stylings together in a perfect, unique finish.
Lizzy McAlpine’s “Angel” is a triumph of sonic experimentation and lyrical ability, channeling both folk and musical theater into one harmonious product. The record feels both new and familiar for McAlpine, and a first step down what appears to be her true musical path. Whispers of McAlpine’s old work still come through, but “Angel” has proved that McAlpine’s time on Broadway has truly changed her art for the better.
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