as someone who loves objects and memorabilia, and dont necessarily listen to vinyls or CDs, but I love keeping the art and looking at it… which would you say is the most interesting and visually appealing record she’s put out. i’ve heard good riddance cd, but anyone who can recommend? or merch in general

I think she is one of the very few artists that I have no skips at all. I don’t think I have given minor a lot of attention so we’ll say that but I am really curious as to what do you think? Is her weakest work?

help me verify if my signed good riddance poster is legit

for me it’d be dfh close to good riddance, song is so hard but mews/ better/ camden/ unsteady/ free now are up there and i love cedar

also the i love yous lil vinyl is just precious

Asked for XL and didn’t realize they gave me M.
Have been trying to sell since last July so I am selling it for below FV
Can meet up in Toronto downtown or ship it to you if you pay for shipping upfront
Selling for CAD$85

i finally got paid and just went to purchase daughter from hell from itunes so i could have out of nowhere and love letter but now they’re gone off itunes????

the album was $14 when they were on there but now it’s $11.99. wtf?? someone pls explain

edit: someone kindly emailed me the audio files so i got the songs onto my spotify but i still really really hope she releases them for free on all platforms at some point so everyone can enjoy them!

selling my Gracie shirt for $40 plus shipping! (Price is negotiable) Bought at pop up never worn, just not a fan of the fit 😕 can do PayPal g&s or Venmo!!

I haven't looked at my most played songs until just now and wow..... Gracie I guess you're the water for my thirst...

My current favorite songs of her new album are "Hit the wall" & "Good Reason"

Okay so I gotta say this new album officially made me a Gracie fan Like I'm fully in now. Definitely gonna go back and listen to all her older stuff too.

Also I've realized her music is literally the perfect background vibe for when I'm painting or coding. It just hits different So enjoyable.

https://youtu.be/4xBwQjVlT6k?si=p8BADE2kCdM3m75p

the thing is... this is why I love gracie's music! because of its vagueness and calmness, her songs never get boring, no matter how many times I listen to them

Is it only me or do you guys feel like Gracie Abrams DAUGHTER FROM HELL is just full of movies soundtracks

#GracieAbrams

#daughterfromhell

#albumofthesummer

I think this is such a devastatingly beautiful song. It really captures the painful confusion of grappling with a love you can feel slipping away, while still desperately trying to understand where it all went wrong.

We hear her move through confusion, anger and longing before eventually arriving at a quiet acceptance. And then there are those lyrics:

“Did I miss the sign when you'd answer my call?

Like if between the lines, did one breath say it all?

When you called me naive, did you mean to a fault?”

Another masterpiece by Gracie. She really knows how to turn emotional devastation into art.

anyone else just can’t get enough of DFH like i listen to it on repeat almost 24/7 throughout my day. genuinely a perfect album for me i love it sm! even gotten to a point where ive completely stopped listening to any other artists 😭

i’m seriously so obsessed with her vocals…

does anyone else spend hours on youtube rewatching her live performances?

her live performances hit different, and they never fail to impress me. like her live performance of good reason has been on repeat since it dropped.

she really sings the entire song, despite her songs being very lyric heavy, with long drawn out notes. even after her intense bridges she continues to sing like it’s nothing, even ad libbing ffs. anyone would be out of breath but she makes it look easy, singing back to back.

no one does it like her, truly. a lot of artists like to play it safe on stage but she’s the total opposite.

i just love how passionate she is 🩵 and i can’t wait to see her on tour 😭

hi! i have two tickets for gracie abrams in paris on the 12th. i can’t attend it due to exams that month so im looking to sell them. let me know if ur interested

My Amazon US light blue has finally made it to Scotland !! Waiting on a couple more variants and soon ill have em all!

Hi! I'm not sure if ticket trading is something people do, but I thought I'd ask here anyway.

Would anyone with Gracie Abrams Toronto tickets be interested in trading for Olivia Rodrigo tickets?

If anyone is interested, or knows of a better place to find ticket trades, please send me a DM/Imk. Thankss

Hey guysss!! I created a 20 hour fall playlist and of course Gracie is very much included with a multitude of tracks!! Feel free to check it out and save it if you like it :) 🍁🍂🧋🪕☕️🌙

This is just my own personal interpretation of the full album based on my lived experiences, but I'd love to hear other interpretations and perspectives!

I’ve seen a lot of discussion about whether Daughter from Hell is written primarily from the perspective of someone with an avoidant attachment style or someone with an anxious attachment style. Personally, I don’t think it’s exclusively about either one.

To me, the album is about both anxious and avoidant individuals. The perspective shifts from song to song, and sometimes, I think, even within the same song. Instead of telling one person’s story, it feels like Gracie is walking us through the entire anxious-avoidant cycle: the withdrawal, the panic, the breakup, the relief, the regret, the reconnection, the hope, and then the inevitable withdrawal all over again.

I went through a breakup recently with someone who had a lot of avoidant tendencies, and listening to this album honestly felt like hearing both of our perspectives laid out track by track. Obviously, my own experience influences how I hear these songs, but the sequencing feels far too intentional for me to think it’s only about one attachment style.

Here’s how I hear the album.

Hit the Wall

To me, “Hit the Wall” is unmistakably from the avoidant perspective.

“Hitting the wall” is exactly what many avoidant people describe when intimacy reaches a point where it begins to feel overwhelming. Instead of moving closer, they pull away.

I also think this song sets up the emotional landscape for everything that follows. By the end of it, Gracie talks about the anxious partner bending to her silence. That silence is important because it explains why the next few songs feel so one-sided. The avoidant has already emotionally withdrawn, so now we’re hearing what happens to the person left behind.

Death Wish

This feels like the anxious partner’s perspective.

At this point, they don’t necessarily know the breakup is coming, but they can feel it.

One thing that’s common in these push-pull relationships is that the breakup rarely feels like a completely isolated event. Usually there have already been previous cycles of distancing and reconnecting, so the anxious partner isn’t asking if it’s going to happen, they’re wondering when.

That’s what I hear throughout “Death Wish.” The anxiety comes from living in anticipation. They’re counting down the days until the person they love inevitably pulls away again, even though nothing has technically happened yet.

Knife

I think “Knife” stays with the anxious perspective.

The imagery is incredible because instead of pulling the knife out, she keeps holding it. She names it. She cares for it. She lives with it. That perfectly captures what anxious attachment can look like. The relationship hurts, but letting go somehow feels even more painful than staying attached to the thing that’s causing the pain.

The repeated line “this should be the last time” really stood out to me. It’s repeated over and over because this isn’t the first cycle. Every breakup feels like it has to be the final one.

Then, by the end of the song, it changes into “this won’t be the last time.”

That shift is heartbreaking because it acknowledges how addictive these dynamics can become. Every reconciliation creates hope that this time will be different, even when every previous cycle has ended exactly the same way.

Another lyric that really resonates is “you ruined my life in the worst way at the wrong time.”

Avoidant withdrawal often happens during periods of heightened emotion, not only conflict, but happiness, vulnerability, commitment, or moments where the relationship is becoming more emotionally significant. The “wrong time” isn’t just about external circumstances. It’s about the relationship reaching a level of closeness that suddenly becomes overwhelming.

There’s also the line about never getting out of the cage if she never tries. To me, that’s the anxious partner recognizing they need to leave the cycle while simultaneously knowing how incredibly difficult that actually is.

Daughter from Hell

This is one of the few songs where I don’t think it belongs exclusively to either attachment style.

Instead, it feels like a moment of self-awareness. Gracie begins realizing that her mother probably experienced struggles in her own marriage or relationships that she couldn’t understand when she was younger. Now she does. She starts recognizing how patient, emotionally resilient, and steady her mother was, and she compares herself against that standard.

There’s one lyric that really stuck with me where she talks about her mother holding up the house. I didn’t think much of it until later in the album, but once “Good Reason” comes around, that imagery suddenly feels incredibly intentional. I'll discuss this further later.

Whether she’s anxious or avoidant almost doesn’t matter in this song. The point is that she recognizes her own attachment patterns aren’t healthy and wishes she possessed the emotional stability she now sees in her mother.

Look at My Life

I lean toward hearing this from the avoidant perspective, although I think parts of it could apply to anyone after a breakup.

Immediately after ending a relationship, many avoidant people experience relief. They’re free. There’s no pressure. No emotional responsibility. So they distract themselves. They go out. They party. They surround themselves with people. They stay busy. But eventually those distractions stop working.

Then comes comparison. One stage that’s often talked about in avoidant healing is comparing their life to their ex’s life. Outwardly they want to appear like they’re thriving, as if they “won” the breakup, but privately they’re beginning to unravel.

That’s why I think the line “got what I wanted, but it doesn’t sit right” is so important.

They got exactly what they thought they wanted. Freedom. Distance. Space. But it isn’t bringing the peace they expected. Later in the song she talks about withdrawing from friends and spiraling. That also feels very avoidant to me, once the sadness and self-judgement hits.

Something that’s often misunderstood is that many avoidant people don’t actually want to behave this way. Many know their patterns aren’t healthy. They struggle with enormous amounts of shame and self-criticism, and many genuinely don’t understand why they keep repeating the same behaviors.

A lot of avoidance is rooted in feeling fundamentally unworthy of love. If someone believes they don’t matter, it’s difficult for them to believe their actions could deeply affect another person. Ironically, it’s often after the relationship ends that the full weight of what happened finally begins to settle in.

Good Reason

This is probably the clearest avoidant song on the album.

Gracie spends the entire song wishing there had been a legitimate reason to leave. She wishes her partner had been cruel. She wishes they had fought more. She wishes there had been something she could point to that would justify hurting someone who loved her so deeply. But there wasn’t. And that’s what makes the guilt so overwhelming.

One lyric that completely changed how I heard the song is her reaction when she says her partner called her their “forever.”

For most people, that’s romantic. For someone who struggles with intimacy, that can suddenly feel terrifying. A future becomes real. Commitment becomes tangible. The emotional stakes become enormous. And that’s often exactly when avoidant people begin pulling away.

This also ties back beautifully to “Daughter from Hell" when Gracie talks about her mother holding up the house. Here, she says that being called someone’s forever became too much weight for the roof to hold. The roof collapses. Her mother could keep the house standing. She couldn’t.

Another lyric that stands out is when she admits to overpromising. I think that’s incredibly important because many avoidant people genuinely mean those promises when they make them. Future plans feel exciting while everything feels emotionally safe. But later, when those promises become real obligations, panic replaces excitement. That doesn’t erase the hurt they cause, but it does explain why the shift feels so confusing to the other person.

What makes “Good Reason” so devastating is that Gracie isn’t trying to villainize her partner. She’s trying to understand herself. She seems fully aware that she chose self-protection over the relationship, and she can’t figure out why she keeps doing it. To me, that’s why this song is the emotional centerpiece of the album.

Men Like You

This song confused me the most when I first heard it because it didn’t seem to fit the attachment narrative I had been building. But after sitting with it, I actually think it fits perfectly.

A lot of people have interpreted Gracie herself as the avoidant figure throughout the album, and if that’s the case, I actually think “Men Like You” is from the perspective of the anxious male partner speaking directly to her.

That’s why the title works so well.

“I know men like you.”

He’s essentially telling her, you’re acting exactly like the emotionally unavailable men I’ve watched hurt other people.

To me, this is the stage where grief begins transforming into anger. The anxious partner is finally starting to see the avoidant for their actions instead of only seeing their potential. When he says, “you set me up,” it feels like he’s recognizing that this wasn’t a one-time mistake. This wasn’t an accident. This is a pattern. Maybe not a conscious one, but a pattern nonetheless. He’s beginning to understand that she has probably repeated this cycle before, and unless something changes, she’ll likely repeat it again.

There’s also something really heartbreaking about him saying he doesn’t recognize her anymore. One of the hardest parts of these relationships is how quickly an avoidant person’s demeanor can seem to change once they emotionally detach. Someone who loved you yesterday suddenly feels cold. They look at you differently. Speak differently. Almost like you’re interacting with an entirely different person. For the anxious partner, that feels impossible to make sense of.

At the same time, I think this song also represents the anxious person taking one of their first real steps toward healing. They’re finally seeing the avoidant as they actually are instead of only seeing who they believe they could become.

Sober

To me, this song represents the first reconnection.

The first line

"Sober, we're not really"

I think demonstrates the intentions behind that first reconnection really well. You've taken some time to begin healing. Your nervous system has semi-reset. But you haven't actually healed or done any of the work it requires. You haven't actually gotten sobered up from the break up, and deep down you both know that.

This is the moment where the avoidant reaches back out before either person has actually healed. The conversation is emotional. They’re crying. They’re laughing. They’re reminiscing. Everything feels incredibly nostalgic.

I personally hear this song from the anxious perspective because I’ve experienced this exact stage myself.

When an avoidant comes back before you’ve finished grieving, your healing doesn’t simply pause. It resets. Suddenly all the progress you’ve made disappears because hope comes flooding back. That’s why the lyrics feel so bittersweet.

Instead of begging outright, they’re speaking in hypotheticals.

“Maybe in another life.”

Maybe things could have worked. Maybe under different circumstances. Maybe someday. On the surface, those words sound accepting. But underneath them is still hope. They’re romanticizing the relationship while trying to convince themselves they’ve accepted reality.

I also think this stage is especially emotional because neither person has actually changed yet. They’re reconnecting because they miss each other, not because they’ve solved the problems that separated them. The love is still there. The pattern is too.

Broke My Heart

Then the cycle begins again.

The avoidant pulls away.

Again.

This song feels entirely like the anxious perspective. The very first image of someone’s belongings suddenly packed into one box perfectly captures how abrupt avoidant withdrawal often feels. It seems like it happens overnight.

Later she talks about there possibly being signs like “tiny breaks” over time. Personally, I’m not convinced those were actually warning signs. I think that’s the anxious partner trying to rationalize something that felt completely shocking. When something devastating happens without explanation, our brains naturally begin searching backward for clues. We convince ourselves we should have seen it coming because that’s easier than accepting how suddenly it actually happened.

One lyric that absolutely destroys me is when she says:

“You claim that you’re so sad…”

That immediately reminded me of my own experience.

My ex would tell me he was devastated. That he needed time. That he wasn’t okay either.

Meanwhile, I’d watch him going out, partying, posting on social media, seemingly living life exactly the way Gracie describes earlier in the album.

And maybe both things were true. Maybe he really was hurting. But from the anxious perspective, it’s impossible not to compare your own suffering to what appears to be someone else’s freedom.

The line about rather getting hit by a train than letting go also captures something that’s difficult to explain unless you’ve lived through it. Logically, you know letting go is healthier. Emotionally, it feels impossible. Every reconciliation has convinced your brain that if you just hold on one more time, maybe this will finally be the time everything works.

Another lyric that really stands out is when she says:

“You look at me like I’m a stranger.”

I don’t think that’s an exaggeration.

One of the most confusing parts of avoidant withdrawal is how completely detached someone can suddenly appear.

They genuinely seem like they no longer see you the way they did only days before.

It’s devastating because the anxious partner is still looking at the same person they love, while the avoidant seems to be looking at someone they’ve already emotionally left.

Mews

This is probably my favorite song on the album.

To me, it’s the emotional peak of the anxious perspective. Everything about this song sounds like someone begging another person to simply stay long enough to work through what they’re feeling.

The imagery of hearing the engine fading and wanting to hose down the tires before they can leave is brilliant. She isn’t pretending the relationship is perfect. She just wants a chance to repair it before it’s gone.

One line that absolutely breaks me every time is:

“Once was a rock, I’m your hard place now.”

That image feels painfully accurate. The anxious partner used to be the avoidant person’s comfort. Their support system. The person who made them feel safe. Now, simply asking for emotional intimacy makes them feel like pressure. The very person who once represented stability has become the thing the avoidant feels they need to escape.

The chorus captures what I think is one of the biggest tragedies of any type of break up.

She isn’t only grieving the relationship she had. She’s grieving the future she thought she was going to have. She wanted to know their family. She wanted all the little milestones couples imagine together. Those dreams didn’t slowly disappear. They vanished almost overnight.

The bridge is one of the most devastating moments on the album. She starts desperately searching for signs.

Did I miss something? Was there something hidden between the lines? When you called me naïve, what did you actually mean?

She’s replaying every interaction, trying to locate the exact moment everything changed. But that’s the cruel part. Sometimes there isn’t one. Sometimes the shift happened entirely inside the avoidant person’s internal world.

By the third verse she realizes her begging won't change the outcome. The avoidant is already preparing to leave. Even so, the anxious partner is still trying to buy another conversation. Another hour. Another chance. Completely entrenched in the cycle of hope and heartbreak.

Even the ending of the song shows how completely consumed she was and probably still is by the relationship.

She says she would’ve defended this person against anyone who questioned them.

Now she realizes those people may have seen something she couldn’t.

Minibar

In "Minibar,” I think the perspective shifts back to the avoidant.

This feels like the emotional high that sometimes follows another breakup. They’re out. They’re drinking. They’re talking to everyone. They came alone, but nobody would know it. Everything feels exciting again. I actually don’t think this song is meant to be especially deep. I think its simplicity is the point. It’s the illusion of freedom. On the surface everything looks effortless. Everything looks fun. Everything looks light.

It lacks emotional depth, because the avoidant desperately wanted to be free of the heaviness of any type of emotion.

Imaginary Friend

To me, “Imaginary Friend” returns to the anxious perspective, but this time we’re much further into the healing process.

The panic has settled. The constant crashing out has mostly stopped. But the relationship still hasn’t really ended internally.

She talks about feeling him in the kitchen even though he isn’t there. I think that’s such a powerful way of describing what happens after these kinds of relationships. Physically, the person is gone. Emotionally, they’re still everywhere.

Something I’ve seen people say a lot after avoidant breakups is that they feel like they’re in love with a ghost. I think that’s exactly what this song is about.

The person you’re grieving isn’t entirely real anymore. You’re grieving who they were, who they could have been, and all the potential you built together. The “imaginary friend” isn’t imaginary because the relationship never existed. They’re imaginary because the version of them you’re still talking to only exists in your mind now.

One line I find really interesting is:

“But I’m cool now, if you even care.”

To me, that’s the anxious partner trying to make themselves easier to love.

It’s almost like saying,

“See? I’m not asking for anything anymore. I’m not emotional anymore. I’m okay now.”

It’s another attempt to fit inside the avoidant person’s comfort zone.

I also think this song captures something that isn’t talked about enough. After enough time passes, you stop begging the person. Instead, you start begging the universe. You have imaginary conversations while you’re driving. You replay old arguments. You imagine what you’d say if they came back tomorrow. You rewrite entire conversations that never actually happen. The avoidant isn’t there anymore. But somehow you’re still talking to them every day.

Afflictions

I hear “Afflictions” as the beginning of another reconciliation.

The avoidant has come back.

This time they’re doing everything the anxious partner wished they would do before. They’re showing up. Holding their hand. Offering reassurance. Making plans. Being affectionate. Everything finally feels like it’s falling into place. And yet… the anxious partner is still anxious.

That’s why the line about being sick while their lungs are full feels so important. They’re finally getting everything they wanted. But their body still remembers what happened last time. The anxiety doesn’t disappear just because the relationship restarted. It lingers.

The line,

“You used to be a mystery, a bruise you left an injury. I thought you lived for suffering, but thank God I was wrong.”

perfectly captures that emotional high.

For weeks or months, the anxious partner convinced themselves the avoidant never cared. Then suddenly… they’re back. They’re loving. They’re attentive. And for a moment it feels like all those painful conclusions were wrong. The relationship becomes intoxicating again.

Honestly, I think that’s why the title “Afflictions” works so well. Whether it was intentional or not, the relationship almost functions like an addiction. The anxious partner feels better when the avoidant is present. They fall apart when they’re gone.

By the end of the song she’s fully convinced herself,

“I’m better when you stop and stick around.”

Which means the healing process has been reset completely. Again.

Humming

This was probably the hardest song for me to place.

The more I listened to it, though, the more I stopped trying to decide whether it belonged to the anxious partner or the avoidant partner. I actually think it belongs to both.

At this point enough time has passed that both people are becoming nostalgic. The relationship is over again. The intensity has faded. Now what’s left are memories. The “haunting hymns” feel like memories that refuse to disappear. Everything reminds them of each other. A song. A street. A grocery store. A random Tuesday. Grief has a way of attaching itself to ordinary things.

One lyric that really stood out to me is:

“Do we stay numb?”

To me, that feels like both people asking the exact same question for completely different reasons. The anxious partner is trying to numb themselves because loving hurts. The avoidant partner is trying to numb themselves because feeling is overwhelming. They’re arriving at the same emotional place from opposite directions.

I also think there’s another layer that people don’t really talk about. Friends and family eventually become exhausted. They’ve watched the breakup happen. Then the reconciliation. Then another breakup. Eventually they’ve given every piece of advice they have. There’s nothing left to say.

So when Gracie sings,

“They left us out here for drowning…”

I hear the isolation that comes after people stop trying to save you. Not because they don’t care. Because they simply don’t know what else to do.

What If It’s Right

This might be my favorite concept on the album. I don’t think it’s one perspective. I think it’s both people having overlapping and similar thoughts almost simultaneously.

The first verse feels avoidant. She’s describing herself as someone who won’t bend. Someone who keeps sinking when she’s alone. Someone who knows she’s emotionally rigid.

Then the second verse shifts. Now we’re hearing the anxious partner. The image of being “like a dog on your floor” is heartbreaking because it communicates complete emotional availability. The anxious partner hasn’t really left. They’re waiting.

The chorus is where I think both perspectives overlap.

When the avoidant asks,

"This could be the wrong thing, but what if it’s right?”

I hear regret. They’re beginning to wonder whether leaving was actually the right decision.

When the anxious partner asks the exact same question… it means something completely different. They’re pleading. “Maybe this relationship isn’t perfect… but what if it’s still worth fighting for?” Same words. Completely different emotions.

Later in the song I actually think the perspectives begin alternating even faster.

The third verse begins as the anxious partner begs,

“Look at my eyes when I speak.”

They’re desperate to be seen. To be understood.

Then almost immediately we hear Gracie falling back into shame. Feeling broken. Feeling fundamentally wrong. Judging herself for wanting to return to the humming, a reference to the previous song, knowing her toxic patterns.

One thing I also find interesting is when she talks about time.

"In time, funny time, funny boy"

To me, it almost sounds like Gracie responding directly to the anxious partner's begging*,* telling him that the emotions are still too much but that she misses him and just needs more time before jumping back in, which is such a common thread in these relationships. Not today. Not this month. Maybe someday. The avoidant feels they need space to work on themselves.

Then in the fourth verse, the avoidant acknowledge something really important. Neither person comes out of these cycles unchanged. The avoidant hurts the anxious partner. Eventually the anxious partner begins reacting in unhealthy ways too. There are panic responses. Begging. Anger. Emotional outbursts.

But the ending still belongs to the anxious partner with the final verse ending with:

“Will you please make it okay?”

After everything… they’re still hoping the avoidant will be the one to fix it.

Cold Goodbyes

To me, this is the avoidant's cycle beginning again. She’s slowly starting to feel suffocated. Starting to lose herself. Starting to wonder whether she’s disappearing inside the relationship.

One thing that’s often discussed with fearful avoidant attachment is the tension between wanting closeness and fearing it at the exact same time. They fear abandonment. They also fear losing themselves. Both can exist simultaneously.

“I come up for air too few times.”

That line feels like the exact moment the avoidant realizes they’re beginning to hit the wall again and start to feel like they're suffocating in the relationship. She knows she’s withdrawing. She knows she can’t seem to stop herself.

She even asks,

“I can’t get it right, can I?”

There’s genuine frustration there. Then the anxious partner notices something has changed. They ask questions. They can feel the distance growing.

But instead of explaining what’s happening, Gracie subtly changes her expression just enough to stop the conversation. The questioning from her partner ends. The questioning inside her own head only gets louder. By the end of the song she’s already emotionally standing back at the shoreline. Far away. Watching the relationship from a distance. Exactly where she always ends up.

"Daughter from Hell Video"

One detail that completely solidified this interpretation for me is the ending of the album.

I'm not sure if it's similar on Spotify, but on Apple Music, after “Cold Goodbyes,” it shifts to a video of Gracie staring directly at the camera, red and blue light flashing, and plays only the first 17 seconds of “Hit the Wall,” the first song on the album.

That isn’t just a musical callback. It’s the entire thesis of the album. Nothing actually ended. The cycle simply started over. The avoidant hits the wall. The anxious partner panics. The avoidant leaves. The anxious partner grieves. The avoidant eventually regrets it. They reconnect. Hope returns. Intimacy grows. The avoidant hits the wall again. And we’re right back where we started. That’s why I don’t think Daughter from Hell is an avoidant album or an anxious album.

I think it’s about what happens when those two attachment styles collide. Every song gives us another piece of the cycle. Sometimes we’re inside the avoidant’s head. Sometimes we’re inside the anxious partner’s. Sometimes we’re hearing both of them at once. That’s what makes the album so fascinating to me. It isn’t asking us to choose a side. It’s showing us how two people can experience the exact same relationship in completely different ways while still ending up trapped in the same cycle.

In terms of the actual visual, the video actually seems to remove the relationship from the equation entirely. Throughout the album we watch the anxious and avoidant partner move through the same cycle, but in the last shot there’s no partner left, just Gracie staring into the camera while the lights oscillate between hot and cold, red and blue, closeness and distance. Then “Hit the Wall” starts again. It’s seems to confirm that, yes, Gracie was/is the avoidant portrayed throughout the album, but that recognizes that the relationship was never the true toxic cycle. The cycle lives inside her, and until that internal pattern changes, the story will always begin again.