A ‘Late Start’ worth the wait: Carol Ades’ stunning debut.
Carol Ades’ debut album Late Start is a poignant and unfiltered journey through the transition from girlhood to womanhood, exploring the messy realities of adulthood, relationships, and self-discovery. Across 13 tracks, Ades crafts a sonic diary that captures the vulnerability of navigating life’s uncertainties, blending wit, heartbreak, and raw introspection. With a voice that’s both fragile and fiercely authentic, Late Start turns the discomfort of growth into a deeply relatable and cathartic experience for anyone who’s ever felt like they’re figuring it out too late.
The album opens with ‘I’m Having Fun,’ a raw and quietly defiant track that captures the tension between feeling stuck and striving for self-discovery. It embodies the experience of going through the motions, trying to move forward but feeling like you’re losing ground and moving in the wrong direction—without ever feeling closer to the fun or fulfillment that always seems just out of reach. Ades expresses this frustration in the line “I’m running in place, going downhill / Not having fun but maybe I will,” blending a sense of stagnation with a hint of hope, however elusive it may feel. Her delivery, both weary and sharp, transforms this emotional weight into something deeply relatable, turning a moment of stasis into an anthem for anyone who’s ever felt the exhaustion of waiting for life to feel fun again in the face of growth.
Tracks like ‘Dreams’ and its reprise (‘Dreams (Reprise)’) serve as emotional mirrors, capturing both the raw intensity of longing and the bittersweet clarity that comes with reflection. The sensual tension of the former contrasts with the wistful introspection of the latter, showcasing Ades' ability to weave narratives that evolve and pair hypnotic melodies with lyrics that border on confessional. ‘Dreams’ captures the raw ache of unspoken desires, with lines like “I got my hand under your shirt, and I can feel you in my dreams” blurring the line between fantasy and reality. Whether you’ve experienced unrequited love or wrestled with feelings you couldn’t express, the song taps into the universal ache of wanting something—or someone—you can’t or won’t let yourself have. The reprise revisits this longing with a more reflective tone, grounding the dreamlike intensity in bittersweet clarity. Together, the two form a poignant dialogue between the immediacy of desire and the wistfulness of looking back, perfectly encapsulating the album’s exploration of longing and self-discovery.
‘Everything Else Is Just Noise’ is a standout, capturing how a single voice, song, or moment can cut through life’s chaos and speak directly to your soul. Its swooning declaration of love, embodied in the poetic chorus—"Turn it off if it isn't your voice / ‘Cause everything else is just noise"—feels like finding a song that knows exactly what you’re feeling. Lush and magnetic, the track radiates intimacy, serving as a love letter not just to people but to the rare and profound connections that music can create. Inspired by Ades’ experience of feeling deeply understood by MUNA’s second record, it taps into the magic of discovering the perfect voice of reason or wisdom at just the right time. Lines like “Nobody gets you like I get you / Nobody loves you like I love you” reflect the rare and transformative connection that arises in a moment of resonance, evoking the clarity and comfort we seek when music becomes a lifeline, filtering out the noise of an otherwise overwhelming world. With its rich production and personal lyrics, ‘Everything Else Is Just Noise’ captures the universal experience of finding sanctuary in a song, a voice, or a feeling. It celebrates the moments when music—or a connection—makes you feel truly seen and heard, turning fleeting emotions into something timeless.
‘Hope Is A Scary Thing’ explores the exhilarating yet terrifying nature of hope—how it lifts you up but also leaves you exposed to disappointment. With its soaring chorus, where the phrase “Hope is a scary thing” is repeated like a tender mantra, the track becomes a delicate meditation on the fragility of optimism. Lines like “I’m flying on temporary wings” highlight this duality, capturing both the thrill of possibility and the fear of falling. Marking a pivotal moment in the album, the song signals Ades’ realization that life doesn’t always go as planned. Beautifully introspective, ‘Hope Is A Scary Thing’ transforms uncertainty into a poignant anthem for the delicate balance between courage and vulnerability.
‘Save the Sad Part for Later’ is a bittersweet reflection on love and the hesitation that comes with its overwhelming intensity. Written 5 years ago before Ades fully embraced her relationship with her now-partner, LonelyTwin, the track embodies the push-and-pull of wanting to stay in the infinite possibilities of what could’ve been rather than risking heartbreak. The tender duet between Ades and LonelyTwin underscores the emotional weight of the song, with their harmonies intertwining to mirror the balance between hope and hesitation. Both nostalgic and intimate, ‘Save the Sad Part for Later’ captures the fear of loss while celebrating the quiet courage it takes to lean into love, with a wistful tone that lingers in both wonder and uncertainty.
‘Never Fucking Fall in Love Again’ is a raw, unflinching anthem of heartbreak and disillusionment. From the very first verse, the song’s lyrics plunge into the aching void left by fractured intimacy, encapsulating the emotional weight of connection turned into alienation. With its bold title and confessional tone, the track lays bare the resignation that comes after repeated disappointments. Lines like “The loudest silence is the loneliest truth” cut deep, reflecting the loneliness of being next to someone while feeling worlds apart. Poetic yet brutal, it sets the tone for a track that refuses to shy away from the depths of pain. The chorus resonates with visceral intensity, its repetition not just sticking in your mind but lodging itself firmly in your gut. The refrain “No, I’ll never fucking fall in love again, I hate it” feels both like a mantra and a desperate plea, embodying the simultaneous anger, exhaustion, and vulnerability of someone burnt out by love’s promises. Ades conveys not just bitterness but a profound weariness—an aching awareness of love’s double-edged nature. This isn’t just a song about swearing off love; it’s a stark snapshot of emotional burnout, delivered with devastating honesty. It’s a sentiment that doesn’t just speak—it screams.
‘Furniture’ shifts the focus inward, exploring control and the futile attempts to rearrange external chaos in order to manage internal uncertainty. With lyrics like “So I’ll just rearrange the furniture again,” Ades captures the compulsion to fix the tangible when the intangible feels unfixable. This track, introspective and layered, highlights her gift for turning mundane, everyday acts into profound metaphors for emotional states. It’s a moment of quiet resonance that fits perfectly within the album’s narrative of navigating life’s discomforts.
‘A Place You Can Meet Me’ captures the bittersweet yearning of trying to connect with a partner when personal struggles create emotional distance. Written in a moment of intimacy and reflection, the song explores the frustration of wanting to be understood without having to explain, with lines like "Jumping the fence, close to the edge…Over the hill and under the hurt to show you the love I'm needing" symbolizing the effort to bridge that gap. The repeated apologies and confessions, like "I'm sorry I made it all about me," highlight the vulnerability of navigating love while carrying individual pain. It’s a heartfelt exploration of the tension between isolation and connection, resonating with its raw honesty and the hope that love can still find a meeting place.
‘Mom Song’ is a tender exploration of love, regret, and reconciliation between a mother and daughter, presented as a heartfelt phone call. The vulnerability is palpable, as the raw, conversational lyrics unfold like an intimate exchange meant for no one else’s ears. The mother’s confession—“I hardly loved you like you needed”—carries the weight of her shortcomings, while the daughter’s empathetic response—“You were also just a person”—reframes their shared struggles with grace in recognizing her mother’s humanity. The track’s emotional arc moves from guilt to hope, culminating in the poignant offer: “We could try this again.” Its blend of honesty and compassion creates a deeply moving tribute to the complexities of family and the courage it takes to rebuild connection.
'Better Than You Found Me' will resonate with anyone who’s ever felt like their own worst enemy in relationships. In this track, Ades delves into those gnawing insecurities, "mommy issues," and the inner tug-of-war between craving love and self-sabotage. Lines like, 'I am a lonely girl, I'm never satisfied,' strike a nerve, echoing the hidden thoughts we often avoid confronting. The song’s infectious melody and Ades’ commanding vocals transform it into a cathartic anthem for breaking cycles of self-doubt. By the end, the song gently shifts, acknowledging that the search for what we truly want often brings us back to the simplest, most honest truths about ourselves.
‘Crying Is My Superpower’ reclaims emotional vulnerability as a source of strength. Ades’ vocal delivery shines as she embraces the catharsis of tears, turning what is often seen as weakness into a powerful declaration: “‘Cause crying is my superpower / I’m the hero tonight.” The track captures the quiet resilience in allowing yourself to feel deeply, serving as a poignant reminder that sensitivity is not a flaw but a superpower. Its reflective tone leads beautifully into the closing track, ‘Late Start,’ where Ades continues to explore self-acceptance and the courage it takes to embrace imperfection.
‘Late Start’ closes the album with a reflective and quietly empowering message about self-acceptance and releasing the fear of imperfection. Written on a day when Ades felt overwhelmed by the pressure to “be” someone or somewhere she “should” be by now in life, the track gently dismantles the unfair expectations we place on ourselves. The realization that “Baby, the best part’s only around the corner” becomes the heart of the track, transforming it into a hopeful anthem for embracing the journey over the destination. For anyone who has held themselves back out of fear of failure or embarrassment, ‘Late Start’ offers a gentle reminder that simply being where you are is enough. By the end, the track turns what could have been a moment of self-doubt into a celebration of trying, doing, and being—flawed but beautifully authentic.
Musically, Late Start blends pop, indie, and singer-songwriter influences with ease. The production, guided by Ryan Raines, Marcus Andersson, LonelyTwin, and Luca Caruso, feels intimate and intentional, allowing the reflective intricacies of tracks like ‘Save the Sad Part for Later’ and ‘Furniture’ to coexist seamlessly with the more upbeat, experimental energy of ‘Better Than You Found Me’ and ‘Late Start’. Ades’ voice—tender, emotive, and full of personality—anchors the album, weaving humor, heartbreak, and hope into a cohesive narrative. Lyrically, the album’s rawness shines through, balancing self-deprecating wit with deeply human vulnerability. Ades’ distinct blend of unabashed openness and quiet confidence creates a deeply personal connection, making Late Start feel both relatable and uniquely hers.
10/10
Carol Ades’ ‘Late Start’ has been added to under the radar’s Elite Picks.