The success of FLETCHER’s 2022 record Girl Of My Dreams catapulted her into the conversation of artists vying to be one of the next “big pop girlies.” Songs like “Becky’s So Hot” and “Better Version,” the latter the recipient of a remix with Kelsea Ballerini, were surefire standouts, but empowering tracks like “Her Body Is Bible” and “I Love You, Bitch” demand the same level of attention. Both feature the purest and most natural representations of her as a skilled straight-up pop singer on the record.
She spent the bulk of 2023 opening for Panic! At The Disco on their farewell(?) tour and playing festivals all over the world, while seemingly gearing up for another major release. Her newest song, “Eras Of Us,” is out now.
In it, FLETCHER revisits a past relationship and the emotions that defined it then and now. On Instagram, she described it as “an attempt at capturing a fleeting moment of pain but also one of deep beauty and appreciation,” and while the second half of the song, with significant musical build to accompany the weight of the unresolved feelings within the lyrics, feels heavier than just momentary moments of pain, both of those emotional levels are represented here musically. Her low, rich alto tone and light synth work take the listener through the introspective thoughts, while pounding drums and a vocal delivery that could be described as melodious yelling moves the listener through the frustration: “I’ve been tryna kill the memory of you in my mind / It’s a cross I’m gonna bear until the day that I die / Yeah, I said it.”
The tune contains nods to her last record as she, for both her and her fans sake, hangs onto the gravity of those stories while, at the same time, slowly begins to move onto whatever is next: “Girl of my dreams / Forever we’re young / Remember it just the way it was,” and “How are you doing? / How have you been?/ I’ve been practicing this moment for like 20 something years in my head.” She also references a Taylor Swift-coined term with, “I’m New York City / You were LA / I would fly across the country just to kiss you and be back in a day,” borrowing Swift’s “I’m New York City” line from Lover track “False God.” Also, as the word “eras” is closely associated with Swift at this moment, FLETCHER uses the opportunity to interpret it for her own art.
Sound-wise, it leans more toward adult contemporary. Like P!nk’s “What About Us” after her mega-pop era with songs like “Blow Me (One Last Kiss),” but is certainly an extension of her already-defined pop stylings. A full record of songs as focused and centered as this one would be a bold yet strategic move.