Annika Bennett is an up-and-coming singer-songwriter based out of Los Angeles, California. She hit the music scene in September 2018 with the release of her debut single, “Boy Who Has Everything.” About two years later, she produced her second single, “Sober Up,” which ignited her commitment to release new music for her fans annually. Ever since then, the rising star has gained traction for the singles that appear across her three EPs. Bennett released her latest EP, “madwoman,” on March 21, 2023. With seven songs that express a range of emotions and interpersonal relationships, her newest release is short but poignant.
The titular song, “Madwoman,” succinctly yet powerfully explains why Bennett’s romance ended. Bennett, who wrote the song after reflecting on the failed relationship, shares that “it’s gonna take a madwoman to love a man” like her ex-boyfriend. Bennett honestly believes that a woman would have to be insane to commit to the man she once attempted to love.
Bennett does not hold back; she claims that the man in question has “the opposite of a midas touch” and is as detrimental as “an iceberg” to “a sinking ship.” In her most jaw-dropping line, Bennett insists, “If I saw you with someone new, I’d say, ‘thank god that isn’t me.’” In the wake of her relationship, Bennett feels not jealousy but rather relief. The lyric is stinging to say the least.
Bennett’s voice, however, makes her delivery of such hurtful news somewhat gentle. The sincerity of her tone and lyrics enables listeners to understand that Bennett feels no bad blood. She simply understands that she is not built to love a man who is unwilling to change for the sake of their relationship. Thus, Bennett’s charming three-minute folk song summarizes an experience that many women share.
Track two, “Annabelle,” is an ode that plays like a lullaby. Quite the opposite of “Madwoman,” the song is a profession of love and adoration. The subject of the song, Annabelle, charms Bennett — and is perhaps the first girl to do so. With Bennett’s new feelings comes uncertainty; she admits, “I don’t know why I’m scared.”
In a moment of timid realization, Bennett reveals that “no one else looks at me the way” that Annabelle does. Could this be more than friendship? Bennett recognizes that it may be precarious to assume that Annabelle’s affection for her is romantic. However, Bennett grows convinced of her assumption by the end of the tune. Realizing that the final scene of “every movie ends” with two characters getting together, Bennett points out, “They’re not just friends. They couldn’t be.” In perfect rhyme, Bennett asserts, “Oh Annabelle, that’s you and me.” Maybe Annabelle was worth Bennett’s previous shipwreck.
Bennett’s deep fear of missing out and remaining stuck in the past inspires the reluctant argument she makes in “Universe.” After growing acclimated to her partner’s friends, house and life, Bennett abruptly loses all contact with her partner’s world when the relationship presumably ends. Referring to the architect who built her partner’s world, she despondently reminds her listeners that “They never sat down to build mine.” It’s a lonely sentiment, and the listener understands that Bennett feels forgotten due to her almost tear-filled delivery.
However, Bennett eventually admits that “There’s a universe outside of you.” Feeling overlooked, she struggles to let go of how all-encompassing her relationship once was. Bennett exposes that painful journey lyric by lyric, progressively overcoming the loss that she feels. Warily, she comes to the conclusion that “someday I’ll be happy out here.” The final lyric definitely implies that Bennett is putting on a brave face; she knows that there isn’t much else to do but move on. The reminder that entire worlds exist beyond her former partner keeps Bennett trudging forward.
Bennett recounts a harrowing experience in “Lose a Friend.” The song revolves around an event that is much more traumatic than the title suggests. It’s clear after the first few lines that Bennett was a victim of sexual abuse in her youth. To make matters worse, her abuser was someone she believed to be a friend.
As many victims do when processing their grief, Bennett replays the situation and wonders what she did wrong. In a heartbreaking line, she discloses, “I guess I still pretend it doesn’t all feel like my fault.” Like many women who experience sexual trauma, Bennett wrongfully blames herself rather than her abuser.
She relives the experience again and again in her thoughts, as if it was still happening. She repeats, “I didn’t wanna make a big deal.” Needlessly, Bennett attempts to defend the actions she took at the time. As the song nears its end, listeners start to wonder if she actually believes that the abuse was all her fault. The bridge then answers that question emphatically: “You’re not my fucking friend.”
In the song’s final notes, Bennett expresses her recovery status: “I remembered everything. I just never found the words.” As this song makes transparent, however, that is no longer the case. She found precisely the right words to share her experience and, potentially, the experiences of women everywhere.
In just over 20 minutes, Bennett takes her listeners on an expedition of pity, love and loss. From losing a “friend” to falling for someone new, this EP contains a treasure trove of her life experiences. Honorable mentions include “Every Color of the Rainbow” and “Scared of Getting What I Want.” For anyone currently in a summer romance, “Red Hot” is also particularly articulate and emotional. The whole EP is full of no-skip tracks, beautiful vocals and eloquent lyrics. Anyone who listens is destined to become a fan. With such a keen ability to describe people, situations and feelings, Bennett will likely extend her music career far beyond this EP. Fans can only hope that, one day, she releases an album.
