Nessa Barrett’s AFTERCARE takes us through the stages of love and grief

In Tune is The NewsHouse’s weekly album review. Contributors Sarah Dorval and Annie Labarca cover new releases across genres.

AFTERCARE, Nessa Barrett’s second studio album, was released on Nov. 15 under Warner Records. The 15-track electro-pop album follows Barrett through the progression of love and all it entails – from infatuation and obsession to despair, heartbreak, and eventually, numbness. Its release was heavily teased, with lead single “PASSENGER PRINCESS” debuting in July, “DIRTY LITTLE SECRET” in September, “DISCO (FT. TOMMY GENESIS)” in October, and “MUSTANG BABY (FT. ARTEMAS)” just one day prior to the full album.

In AFTERCARE, Barrett curates the perfect dark-romance vibe through dramatic instrumentals and her vulnerable lyrics – the perfect mix of metaphors and ugly truths. But through it all, Barrett’s talent seems to shine most not in her lyricism, but through her impressive vocal range and power coupled with the production of the songs themselves.

“BABYDOLL,” the album’s ninth track, was a standout in terms of Barrett’s vocals – and it was the one to make me forget her original fame came from dancing on Tiktok. Typically, Barrett is known for a breathy, lighter style of singing complemented by quieter tracks. While “BABYDOLL” starts out more mellow, the instrumental intensity builds slowly, peaking at the chorus – which Barrett matches in strength. Rather than getting lost in the louder, more dramatic track here, Barrett’s voice not only cuts through the noise but commands it. The tasteful and intentional use of reverb on her vocals during this section only enhances her performance, as well as the dramatic energy of the song.

In “BABYDOLL,” Barrett tells the familiar tale of a man who picks her up like a doll when he wants her, then forgets about her when playtime’s over and her purpose has been fulfilled. In her next track “GIVEN ENOUGH,” she laments on, yet again, giving her all to someone who is unappreciative – repeatedly questioning “Haven’t I given enough, given enough to you?” By the time it reaches track 13, “PINS AND NEEDLES,” there is an obvious shift in Barrett from vulnerability and pain to emotional detachment – a quality common in heartbreak. Instead of allowing herself to feel the pain of failed love, Barrett cuts it all off, blocking his number and repeating the phrase “I feel nothing for you” like a mantra.

In the second verse, she warns, “Don’t call me your ex ‘cause I never met you / We’ve never had sex, we never got tattoos,” likely referring to ex-boyfriend Jaden Hossler who covered up their matching tattoo after the breakup. In that respect, “PINS AND NEEDLES” is like Barrett’s version of revenge – her version of covering up the tattoo. It’s more than a “you’re dead to me,” it’s saying “you never even existed.” The song opens sounding dream-like, the layering of Barrett’s vocals atop the repeated chord progression almost haunting. When the percussion finally comes in at the chorus and everything builds, Barrett embodies that euphoric feeling detachment can bring – singing “Ice-cold, cut off my blood flow / It’s all pins and needles, babe / I feel nothing for you, nothing for you.” 

Over the course of the album, Barrett changes roles repeatedly – she’s in love, she’s in lust, she’s hurting, she’s being used. In the final track, “DIRTY LITTLE SECRET,” she flips the script completely – no longer the emotional one, always pining after her love and getting hurt. Now, after detaching the idea of sex from love, Barrett is the one doing the hurting because it makes her feel strong. She sings “Don’t you look at me like that, it’s just too real / Feels so good when I don’t know the way you feel,” needing to keep the connection surface level because she knows once feelings get involved, people get hurt. While there’s not much special about “DIRTY LITTLE SECRET” lyrically, this song is definitely one of Barrett’s best, showcasing her wide vocal range.

Even in songs like this where Barrett detaches from her emotions, AFTERCARE is constantly underscored by the hurt of her past. Barrett’s vulnerability as she navigates the various stages of love and loss resonates with listeners because of its relatability, which is a big reason why fans are loving it so much. While some tracks do rely heavily on simple repetitive lyrics, (the chorus of “MUSTANG BABY” is largely just “Mustang, baby” and “Good girl, crazy” repeated) Barrett’s powerful voice and the album’s strong production more than make up for it.