Maisie Peters, The Good Witch Review


Maisie Peters, The Good Witch Review

Vocal Enchantment: Maisie Peters, The Good Witch, Casts a Spell On You With Her Singing

By Rudy Palma

Maisie-Peters-CDIn the rich soundscape of modern pop music, few artists manage to construct such a vivid vocal tableau as Maisie Peters does on her latest album, The Good Witch. Don’t let the sweetness of her voice fool you. Peters is anything but a one-dimensional pop princess. This album is an exhilarating journey through Peters’ vocal universe, punctuated by masterful moments of expressive diction, pitch precision, and inventive phrasing.

Right off the bat, the title track, “The Good Witch,” heralds the album’s arrival with an enchanting display of Peters’ vocal versatility. The song’s dreamy, atmospheric nature is rendered palpable by Peters’ tonal inflections and delivery. Her voice wraps around each lyric, giving them a hauntingly evocative quality.

“Coming of Age,” a bittersweet anthem of maturation, showcases Peters’ knack for delivering catchy hooks. Her tone remains bright and ebullient even as she delves into the nostalgic undertones of growing up. The clarity in Peters’ voice matches the clarity of her memories, making each verse resonate with raw, genuine emotion.

“Watch,” an exploration of societal scrutiny, allows Peters to flex her narrative prowess. Her phrasing creates a sense of urgency, and her voice becomes the embodiment of the subject matter. This meticulous approach to vocal delivery continues on “Body Better,” a track that dives into body image and self-confidence issues. Here, Peters’ vulnerability is mirrored in the soft yet determined tonality of her singing but tinged with aggression at the right moments.

As we move on to the heart-wrenching “Want You Back,” Peters’ mastery over her vocal dynamics shines through. The longing in her voice is palpable, her pitch control contributing significantly to the overall poignancy of the song.

“The Band and I” and “You’re Just a Boy (And I’m Kinda the Man)” are equally impressive displays of Peters’ vocal dexterity. Her rich, warm timbre easily fills the large sonic space of these songs. She navigates these larger-than-life tracks with a grace that makes it seem like they were written precisely for her vocal range.

While the album is peppered with high-energy tracks, it also harbors thoughtful moments of introspection, particularly seen in “Wendy” and “Two Weeks Ago.” These songs allow Peters’ skillful control over diction and phrasing to truly shine as she expertly spins narratives of loss, yearning, and self-realization. Meanwhile, songs like “Lost the Breakup” and “Run” may start in quieter spaces, but they unfold into solid synth-pop, medium-tempo songs that balance the album’s dynamics wonderfully. Peters shows she can command a range of tones, demonstrating her vocal versatility.

“BSC,” a tongue-in-cheek anthem, adds a dash of rebellious energy to the album, allowing Peters to explore a cheekier, more playful vocal delivery. “Therapy,” on the other hand, showcases the more introspective side of Peters’ vocal personality. The clarity of her voice, combined with her expressive delivery, lends depth to this powerful track.

As we arrive at the closing track, “History of Man,” it’s clear that Peters’ vocal journey throughout the album has been as transformative as it has been thrilling. Her ability to inhabit the world of each song, her tonal choices, and her pitch control are nothing short of outstanding. Whether she’s riding the euphoric highs of an upbeat anthem or sinking into the melancholic depths of a ballad, Peters navigates her vocal landscape with an effortless grace that belies her age.

One thing’s for sure: Maisie Peters has proven that she’s not just a flash in the pan with The Good Witch. She’s a vocalist with a distinctive sound, a clear vision, and the technical ability to make that vision a reality. So, if you’re in the market for an album that expertly showcases the human voice, The Good Witch should be at the top of your list. And while we’re on the topic of clarity, I’d advise anyone still clinging to their outdated audio gear to step into the 21st century – trust me, your ears will thank you.

As a vocalist, Peters excels in making her voice sound as organic and clear as a bell. She weaves narratives with her tone and pitch, immersing listeners in her world. The Good Witch is a vocal tour de force, an album that underscores Peters’ burgeoning potential and secures her position in the vanguard of the pop scene. If she keeps this up, there’s no doubt that she will continue to enchant her audience, one spellbinding song at a time.


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