Once Rogers released her debut studio album, Heard It in a Past Life, which bridged her post–New York University vault to virality through to Grammy-nominated fame, the enduring narrative of a former banjo girl making good remained the definitive heuristic for understanding the now 28-year-old’s career.Ĭut to early 2020, when the tour-weary Rogers finally retreated to the Maine coast for much-needed R&R, emerging only to release a retrospective of early material as well as a duet with fellow indie royal Phoebe Bridgers, before retreating into academia via Harvard Divinity School.
It’s always been easy to be smug about rooting for Maggie Rogers: It was certainly a flex back in 2017, when showing up to her Brooklyn Steel show signaled a kind of knowing about your taste for big-hearted lyrics and whimsical nature samples as much as it did about your YouTube habits or appetite for a good A Star Is Born moment. “This is a really strange relationship,” Rogers herself remarked to her listeners after pausing to tune her guitar in front of a blazing neon Spotify sign simultaneous talking and tuning is still a skill she’s yet to master as her career makes its sophomore turn, but it’s just a matter of time. For those in attendance, the evening was a perfect metaphor for Rogers’ career: Just as we wondered whether the passersby in Greenwich Village knew, exactly, whose voice was ringing out so lushly from above, we also knew that few of us were likely to ever play audience to Rogers in such close quarters ever again. Around sunset on Wednesday, a few dozen fans gathered on the rooftop of Electric Lady Studios to watch Maggie Rogers perform songs from her new album, Surrender, over acoustic guitar.
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