Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.
“I love being dramatic because … why deal with any emotion in a logical way when you have the option of absolutely losing your mind?”
Among countless emotionally wrenching, all-time favorite lyrics, this interview quote still has to rank among my favorite things Conan Gray has said. Despite — or maybe because of — its off-kilteredness, it perfectly encapsulates what makes Gray’s songwriting so compelling: his ability to write “losing your mind” in the most beautiful way possible, infused with his signature self-aware wit, creates undeniably devastating masterpieces. This niche is exactly what Gray has found his way back to in his fourth studio album, “Wishbone,” which was released on Aug. 15.
Gray’s previous album, “Found Heaven,” was an 80s synth-pop inspired departure from his usual work — and while I’m all for artists trying something new, the experimental approach wasn’t my favorite, save for one song (“Alley Rose,”). I was excited for the return of both Gray’s signature style and the legendary Dan Nigro as executive producer. This album feels more in the vein of “Superache,” my favorite of Gray’s albums, but with lighter melodies and instrumentals contrasted with even more deeply cutting, acutely personal lyrics.
In fact, Gray shared that when he started writing these songs, he wasn’t even planning to release them. That revelation explains why each track feels like a handwritten diary entry, slowly unveiling deeper and deeper levels of heartache. I hate to say it because I wish nothing but happiness for Gray. Yet I think, like a lot of artists, his talent shines most in his pain.
“Wishbone” opens flawlessly with “Actor,” a guitar-based track outlining a forcibly secret relationship — an experience that dominates the whole album. Sadly, I didn’t like the second track, “This Song,” as much as the others. Despite it being a rare love song from Gray, it just wasn’t memorable — mostly because of bland lyrics such as “I wrote this song about you / Something I wish you knew / Something I’ve tried to say / But now I’ll say it straight.”
The first single, on the other hand, “Vodka Cranberry,” makes perfect sense as the lead. With lyrics like “It’s in the way you say my name / So quick, so straight, it sounds the same,” it encapsulates the heartwrenching tone of the album and epitomizes Gray’s emotional style — though at this point, I think I’ve overplayed the viral song a bit too much.
As something a little more upbeat, “Romeo” is a fun addition that diversifies the sound of the album, though the song’s talk-y style is not Gray’s strength compared to moments of greater vocal power. The following track, “My World,” blends some of “Romeo’s” humorous lyricism with the lighter melodies from earlier tracks, pulling the album’s different sounds together nicely. I think the bridge of “My World” is, in the best way possible, where you can tell that Olivia Rodrigo is his best friend. For example, Gray sings, “A full year later, you’re calling me back / You say you’re sorry for treating me like trash / It’s totally okay, dude, I really don’t mind / You got your revenge by being stuck with your life.” The mocking lyricism feels reminiscent of Rodrigo’s angrier bridges on “Guts,” as heard in “Vampire.”
Next up is “Class Clown,” which I think of as a relative to “Family Line” from “Superache,” as both serve as a reflection on how Gray’s family and upbringing has continued to influence his love life and how he sees himself. No matter how much time has passed, Gray’s experiences stick to him, like how the school label of “class clown” sticks from childhood too.
Track seven, “Nauseous,” is my personal favorite from the album. It is simple with incredibly strong storytelling, while exemplifying the gut-wrenching lyricism Gray has become so well known for: “And maybe that’s why I feel safe with bad guys / Because when they hurt me, I won’t be surprised.” Like in so many of Gray’s songs, the bridge perfectly builds up, drops and pauses as he then satisfyingly belts the most heartfelt lyric: “I know that it’s in me to really love someone / But that’s not a thing that I learned from my loved ones.” It’s a pattern that gets me every time.
Fittingly placed as the 11th track, I also enjoyed the lyrical and thematic consistency of “Eleven Eleven,” which includes references to the album’s title and how “wishbones” signify the uneven nature of relationships to Gray. However I felt it wasn’t as unique as some of the other tracks due to its more repetitive melodies (though as someone who religiously wishes on 11:11s, I appreciated the whole theme of luck and wishing rituals, even though they took a devastating turn in this song ). The final track, “Care,” ties a bow nicely around “Wishbone,” as Gray reflects on the end of his relationship and his struggle to move on in the aftermath of heartbreak.
Gray began performing the album on “The Wishbone Pajama Tour” earlier this September. I can’t wait to see some of these songs live when he comes to Shoreline Amphitheater on Oct. 3 — and until then, I will be extremely dramatic about my excitement.