I’m forever a Julia Michaels truther. That woman is beyond talented in the most underrated way—you’ve listened to more Michaels hits than you haven’t. She’s a radio frequenter, a songwriting princess and known up and down the music industry for her feverish ability to perfectly encapsulate a feeling in the most accessible way. Collaborators include the biggest names in the industry: from Sabrina Carpenter’s recent record-breaking album Short N Sweet, to Justin Bieber’s hit song ‘Sorry’—you literally cannot escape her lyrical prowess.

Excluding a couple singles and collabs, and a soundtrack for Disney’s Wish, her last body of work was released in 2021, an album titled Not In Chronological Order. This album was so important to me for a while: my favourite heartbreak artist had gone and fallen in love, and I got the first taste of Julia-in-love. Even then, though, in my naïve youth, I knew that this woman was unnecessarily underrated. I still think that album had some pretty perfect indie-pop production, and even better lyrical capacity.

When she returned to her initial form as an EP artist (throwback to Inner Monologue Part 1 [and] 2) in her newest release Second Self, on May 23, 2025, there’s a reinvention and also a reminiscing of her introspective writing style. It’s not quite the same anymore, more mature, and there’s something more fast-paced about it – all elements of breaking up and moving on and flirting and falling in love packed into a six-song EP.

Underpinning these attacks is Micheal’s classic, dreamy style, that feels less twinkly and more traditionally introspective. The closing track, ‘Time,’ morphed me into my true form as a perpetually heartbroken teenager. This instrumental is less of a rainstorm of emotion, and more a long-awaited and welcome shower. This musical rain is a little devalued by the simplicity and repetitive lyrics, which has worked perfectly for Michaels in the past, but “time” being repeated frequently is not quite as effective. It’s not my favourite of all Michael’s heartbreak classics (simply because there are so many), but I know it’s one that will form a constant reassurance.

This album is her first under her own label ‘GFY Records.’ The name is probably—like I said, she’s been constantly overlooked and undermarketed, and whilst I can only imagine the difficulty in such a shift and self-promotion, it makes me proud to see her progression.
It makes sense, then, that the record-label’s namesake song, ‘GFY,’ infuses classic Michaels hilarity that is often overlooked but translates even in songs she co-writes.

Speaking of cheeky songs, ‘Heaven II’ and ‘Try Your Luck’ both speak to that same fun-loving, outgoing writer she really can be. Outwardly charming and extroverted, but simultaneously quite intimate, Michaels manages the light-heartedness of intimacy without overstepping boundaries. ‘Scissors’ also speaks to this witty humour—the first single, a Maren Morris feature, insane music video. She killed it on this one (or, I supposed, castrated… and cut ties).

The production on these songs isn’t as interesting as ‘GFY,’ ‘F.O.O.L’ or ‘Time,’ and in a larger body of work, this can be overlooked. But in a small EP, the songs can feel monotonous in musicality, and as a fan—I can overlook this, but as a casual listener, the lyrics may not be enough to keep me hooked. It is the curse of EPs, to be limited in their small tracklist, but it’s a shame that Michaels song-writing also takes a hit in the process. 

‘F.O.O.L,’ is probably my favourite off this EP. We’ve heard so much (maybe, dare I say, too much) about the fools who rush in–but here, Michaels writes about the fools who rush out, and are “dancing while… breaking up.” It is so classic Julia Michaels, to write about the romantic antagonist as a good riddance–think ‘Falling for Boys’ or ‘Wrapped Around,’ but what she does with ‘F.O.O.L,’ is revisit this contextual theme with a new musical identity. She provides enough sonic distance between who she was at ‘Falling for Boys,’ which was targeting the heartbreaker, to ‘Wrapped Around,’ which embellishes a new, better romantic interest, and now, ‘F.O.O.L,’ which is almost entirely, introspectively, indulging the benefit of loneliness.

Like I said, classic Julia Michaels, but a less forgiving, more loving version. It’s a fast-paced, six-track process, and it will leave you wishing you could go back to everything that’s ever hurt you and save time—but also with a well-rounded Second Self.