Faye Webster’s fifth studio album, “Underdressed at the Symphony,” provides a window into the 26-year-old singer’s mind through its candid lyrics and soft, simple sound. The indie rock and R&B project was released on March 1 and follows her 2021 release, “I Know I’m Funny haha.” Webster is known for being forthcoming and amusingly colloquial in her music, something that she builds upon in her latest work.
Webster released her first album, “Run and Tell,” when she was 16. Since then, she has released four additional projects, establishing a substantial and consistent discography. Her youth is well-expressed in her music through her laid-back sound and comically frank lyrics. Her grandfather was a bluegrass musician and her mother a fiddler, and hints of country, folk and blues color her music.
In “Underdressed at the Symphony,” Webster develops an air of confidence that provides a smooth listening experience. The album is not going to make listeners want to get up and dance, but rather feel as though they are slowly sinking into a pool of molasses. Webster’s vocals are gooey and clean, and they are backed by simple, jazzy instrumentals that could refine a nice brunch or be played poolside at a resort.
Though Webster is not elaborate with her lyrics, there is a sincerity to each song that is both comforting and intriguing. It is clear that she intended to open up to listeners with “Underdressed at the Symphony,” and despite its unpretentiousness, Webster imbues the project with meaning. The repetition of “my baby loves me / yeah he loves me / yeah” throughout almost all of “He Loves Me Yeah,” for example, is suggestive of insecurity within a relationship.
The standout element of the album is how well Webster’s vocals complement each instrument. She has a soft, buttery voice that glides across string instruments and woodwinds textured by a cacophony of other sounds, such as a bell or guiro. Upon first listen, each track is deceptively plain. A closer listen, however, reveals several subdued melodies that come together to create quite a complex sound.
Though each song is distinct, there is a numbing effect to the consistency and effortlessness of Webster’s sound. This encourages the audience to drift off into a comfortable haze, which brings both good and bad listening experiences. It became difficult at times to remain engaged and, at first listen, I was far less impressed than I was after I had listened through the album a couple times. The nuances of “Underdressed at the Symphony” do not exactly jump out at the listener, and I could see why it may not be everyone’s cup of tea.
“Lego Ring,” a collaboration with rapper Lil Yachty, which was released as a single on Jan. 4, provides an interesting break in the monotony. I found Lil Yachty’s performance to be surprising, yet a touch lackluster. “He Loves Me Yeah” does a far better job of introducing an upbeat touch to the album, with a cool combination of soft piano and electric guitar. Similarly, Webster’s use of autotune in “Feeling Good Today” is both interesting and aurally pleasing.
In “Underdressed at the Symphony,” Webster puts together a catchy, relatable album with impressive subtlety and a unique sound. She truly plays to her strengths as an artist through elegantly unadorned lyrics and music. References to visiting her brother and his new girlfriend, taking her dog outside and calling an exterminator remind the listener that Webster, just like the rest of us, has to deal with life’s petty ups and downs. “Underdressed at the Symphony” exudes sluggishness and emphasizes the ordinary, though Webster’s performance is anything but.
