How songwriter Amy Allen became ‘the first ask for anybody in pop right now’

As I delve deeper into the world of pop music, I can’t help but marvel at the transformative journey of Amy Allen. Her story is one that resonates profoundly with me, not just as a fellow artist, but as someone who has grappled with the same crossroads in life.

During her time as a student of songwriting at Berklee College of Music in the mid-2010s, Amy Allen encountered a teacher who believed that emphasis should be properly placed on lyrics. An example he provided was Katy Perry’s 2013 single “Unconditionally,” where Perry stresses the fourth syllable – “un-con-di-tion-al-ly” – to align with the song’s rhythmic flow.

According to Allen’s memory, the teacher stated, “You ought never to perform that action.” However, Allen countered by expressing his belief that people actually find it appealing when such an action is taken due to its peculiarity and humor. He suggested that this unconventional approach aids in memorizing the song more effectively because it strays from the norm.

As it turns out, I was right to trust Allen’s path. Nine years after my own graduation from Berklee College of Music, Allen, now 32, has proven herself as a remarkable songwriter in Los Angeles. She’s been crafting unique pop hits that have become anthems for countless music lovers worldwide.

In Allen’s songs, there are distinctive quirks in the writing style that change from one song to another. At times, it includes peculiar phrases that can be challenging to understand, such as “That’s that me espresso”; at other moments, it incorporates sudden profanity, like the “motherf—” found in “Please Please Please.” In the song “Lie to Girls,” one of the twelve tracks on “Short n’ Sweet,” Allen employs raw honesty and emotional intensity, as Carpenter expresses a heartbreaking confession: “You don’t have to lie to girls,” she says to a man who isn’t good for her, “If they like you, they’ll just lie to themselves.” (A profound admission wrapped in a few words.)

In terms of style, Allen’s songs often vary greatly, ranging from the bubbly disco beat of “Espresso” to the sultry soul-rock soundscape of “Adore You,” and the enigmatic twangy and sparkling “Please Please Please.” Last month, she unveiled her self-titled album, characterized by breathy vocals over atmospheric indie-folk settings similar to Boygenius or Lizzy McAlpine. She’s also capable of dabbling in country music, as demonstrated by the several tracks she contributed to the recent album of the rebellious Texas singer Koe Wetzel.

The common thread in all her work is a unique touch that subtly deviates from normality, lending the music a personal and intimate feel – one that reflects Allen’s personality, but even more so, the artist interpreting the song. Listening to a song she co-created feels like hearing a melody that could only have been sung by its performer.

As a movie reviewer, I found Sabrina’s character in the film to be remarkably genuine, as reflected in her song choices – ‘Espresso,’ ‘Please Please Please,’ and ‘Slim Pickins.’ These tracks, reminiscent of Carpenter’s music, seemed to encapsulate Sabrina’s unique spirit. In one of these songs, the former Disney star laments about ending up with a man who can’t tell ‘there,’ ‘their,’ and ‘they are’ apart – a situation any modern pop enthusiast might find relatable. It’s clear that she speaks in a way that mirrors her writing style, a trait that resonates deeply with her audience. There’s no question about it; her dialogue feels authentic and true to who she is as a character.

After spending four weeks at number one on the Billboard 200, the album “Short n’ Sweet” is expected to be among the top contenders when Grammy Awards nominations are announced on November 8. Allen could potentially receive a nomination as Songwriter of the Year for the second time – her first nomination in this category was earned through her collaborations with Harry Styles, Lizzo, and Charli XCX back in 2023.

As a dedicated movie buff, I can’t help but express my admiration when I say that Amy is the go-to name in pop music today. Julian Bunetta, who worked on “Espresso” and has also created chart-topping songs for One Direction and Teddy Swims, echoes this sentiment. It seems like there’s a celestial harmony between Amy’s artistry and what the world is currently craving, as her journey mirrors an unstoppable cosmic force.

Allen’s achievement is a significant part of a broader evolution in popular music, moving from meticulous perfection to a more authentic, raw sound. For instance, think about the deep emotional honesty found in Chappell Roan’s “Good Luck, Babe!” or the gritty electronic tones Charli XCX uses on her album “Brat”. The complex song structures seen in Billie Eilish’s “Happier Than Ever” and Taylor Swift’s embrace of her wilder instincts on this year’s hit album, “The Tortured Poets Department”, also reflect this trend.

Instead of simply smoothing out imperfections as was common in Top 40 radio a decade ago, these days, a musician’s unique idiosyncrasies have become the foundation upon which their songs are constructed.

Allen remarks, during a recent studio visit in Silver Lake, that the era of a pop song being recorded by multiple artists has largely passed. She had recently returned from MTV’s Video Music Awards in New York, where she supported Carpenter, whom she describes as more like a sister to her; prior to this, she was in Europe kickstarting Bleachers’ concert series, a rock band led by producer Jack Antonoff, who also contributed to the production of “Short n’ Sweet.

As a devoted cinephile, I used to pen lyrics that could fit a variety of artists, be it A, B, C, or D. But these days, every song needs to resonate deeply with the artist themselves – it should feel like an authentic expression from within. It seems that Perry’s struggle to adapt to this shift might be one factor contributing to the underwhelming reception of her impersonal track “143” this year.

Allen believes that the pandemic prompted numerous artists to delve deeper into songwriting as their touring schedules were canceled; she notes that social media also contributes significantly because artists continuously interact with their fans, sharing real-time insights about their personal lives. In her opinion, music should reflect this openness or else its purpose becomes questionable.

In this collaborative setting, Allen excels at providing an emotional compass, as described by Bunetta. He notes that her writing originates from a profound, creative, and emotive space. Moreover, she facilitates others in tapping into that depth within themselves.

From childhood, Allen played bluegrass music alongside her elder sister in a quaint Maine town. Later, she enrolled at Boston College for nursing studies, which she humorously refers to as a “misstep,” eventually correcting it by transferring to Berklee College of Music. At Berklee, she formed a pop-rock band named Amy & the Engine, inspired by Florence + the Machine, that eventually toured and gained attention from record labels. She recalls an encounter with two executives who played one of their songs over speakers in a conference room.

She expressed, “This isn’t satisfactory,” she stated. “I can achieve more than this.” Subsequently, she disbanded the group. Drawing inspiration from the accomplished songwriter Julia Michaels, who has also moved between performing and working behind the scenes, she relocated to Los Angeles at the end of 2017 to focus on songwriting. Within a year and a half, she had scored her first No. 1 with Halsey’s bitterly resentful “Without Me,” which paved the way for collaborations with Selena Gomez, Olivia Rodrigo, Niall Horan, and King Princess.

Today, Allen expresses that she doesn’t aspire to be a major pop star in the mold of other successful women. She admits to being awestruck by the demands and responsibilities that come with such a role, stating it’s not something she feels equipped to handle. Instead, the soft, unassuming tracks on “Amy Allen” represent a nostalgic return to her youth, where she would write poems and set them to music on her bed, as well as a way for her to preserve the current moment for future reflection.

What matters to me as an elderly woman is being able to play the songs I composed for myself to my grandkids, sharing ‘these were my personal tales.’ She grins. ‘And I hope that the tunes I collaborated on with Sabrina, Harry, or any other artist will still be around.’

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2024-10-15 13:31