Rising indie pop and alternative R&B artist Malcolm Todd released his debut album “Malcolm Todd” on Friday, April 4. The 14-track project is riddled with his classic catchy choruses and ornate vocal layers that navigate the complexities of love and self-doubt.
From serving ice cream to boasting over 9 million monthly listeners on Spotify, the bedroom pop artist’s success has been a slow burn until now. Todd released multiple extended plays between 2022 and 2024, including “Demos Before Prom,” “Shower Shoes” and “Sweet Boy,” before his big break.
“Roommates,” a song included in the “Sweet Boy” EP, caught traction in 2023 and was his most-streamed song on Spotify at 60.3 million streams until last year. The growth in popularity led to Todd signing a deal with Columbia Records later that year.
His most-streamed song quickly changed after the December 2024 release of his debut album’s lead single, “Chest Pain (I Love).” The emotional rollercoaster of a song previewed a change from the upbeat and sassy attitude that made “Sweet Boy” a fan favorite, to the more somber tone that resonated in this album.
The catchy chorus and well-timed percussion behind complicated themes of love and heartbreak make it an obvious hit among not only Todd’s fans, but also casual listeners, skyrocketing it to the top of his discography with 60.6 million streams on the day of the album’s debut.
The second pre-release single, “Bleed,” featuring alternative R&B singer Omar Apollo, instantly stood out as one of the most uptempo songs in the album. Its danceable rhythm pairs with stunning instrumentals and lyrics that traverse the qualms of ‘taking off the mask.’
Todd’s final single leading up to the album’s release was the ideal track to forerun the project. “Cheer Me On,” released a week before the debut album, reinforces a common theme of self-doubt and exposes his fear of being stripped of individuality, setting the tone for his most vulnerable album yet.
The song details the change he’s made since the beginning of the project and emphasizes the metamorphosis he’s endured while still immersed in his own insecurity.
The pressure of making music and finding a purpose is portrayed in the music video for “Cheer Me On,” showing Todd breaking down and ripping off the mascot costume he has on.
The song’s pre-chorus details the 21-year-old’s need for validation and to be desired with the lyrics, “You need to know my name. You need to like my face. I’m living for your eyes. I’m not doing this for me.” The subtle mention of living for someone else exposes Todd’s emotional truth and adds an extra layer to his music that he hasn’t done before.
Still, Todd stays true to his sound, using a variety of guitar riffs and captivating percussion throughout his first studio album to tell a riveting story.
Todd took the lead in writing and production on the album, something he’s been doing since his high school days when he launched his first EP, “Demos Before Prom.”
The debut strayed from his previous EPs, where he relied heavily on drums. In this album, Todd enhanced production and instilled a more orchestral sound in some of his songs.
In the opening track, “Harry Styles,” Todd alludes to the music industry’s idea of pop stars in a performative act, singing, “But if I’m not a Harry Styles, they’ll put me back on the shelf.” Opening his first studio album by sharing the expectations put upon him by the industry is a bold yet insightful way to kick off his debut.
Todd’s intent on being true to himself while feeling the pressure of making music resonates through the rest of the album, but in a different tone, as tense lyrics are paired with an uplifting tune.
RELATED: Playboi Carti plays by his own rules on his newest album ‘MUSIC’
The album follows the additional theme of Todd facing heartbreak and learning to love again amidst creeping self-doubt, despite the progress he’s made on his healing journey.
Tracks like “Make Me a Better Man” introduce the additional theme of being in love with someone who doesn’t love you back, questioning whether this lesson learned and its ensuing self-growth will truly change him for the better.
The repeat button is hard not to press after listening to this song. The blues-esque instrumentals blend with the lyrics, and Todd’s voice will have you belting the track on your daily drive.
The next track, “Doll,” verbalizes Todd’s lack of self-worth as he’s caught in a pattern of needing to be accepted, even in a toxic relationship. Some listeners misinterpreted the track to be shallow and sexual, but the lyrics reveal a deeper layer of fragility, something Malcolm had yet to fully dive into in his previous work.
Track eight adds moxie to the album with “Lying.” The song is lyrically weaker than other tracks due to the repetitiveness and lack of deviation, but the heavy bass line and added trumpets in the chorus solidify the theme and carry the track.
Todd’s instrumentals continue to astonish, being reminiscent of fellow indie artist Steve Lacy in one of the standout songs, “Walk to Class.”
The internal rhyme mixed with 80’s synth syncopation backs Todd’s distress of being in a long-distance relationship with his partner. Self-doubt is apparent throughout this track, and his lack of trust is revealed.
Immediately after “Walk to Class,” Todd follows it up with two more of the album’s top contenders. “Florence” and “Concrete” are heavy hitters that differ in terms of style; “Florence” is a softer song, whereas “Concrete” shifts the energy with a trancey, pulsating bass line hammering the change of feelings within Todd.
“Florence” catches the listeners’ attention right from the start, with a rising prominence in the guitar before Todd delivers an ethereal pre-chorus, setting the hook about a love walking away from your life perfectly.
Fans of Todd instantly gravitated to “Concrete,” making it one of the album’s most popular songs. The heavy bass line, captivating intro and beat switches resemble works from previous EPs, especially “Starstudded.”
To round out “Malcolm Todd,” the rising star ends the dramatic album with “I’ll Come Back For You,” a soft and poignant melody showcasing the singer-songwriter’s uncertainty about receiving love.
Todd feels undeserving of the love he does receive and is scared of losing it. Todd wraps up his emotion-filled album on a poetic note, with voice memos from his loved ones encouraging him in the pursuit of his dream.
Though the album had plenty of good, it was on the shorter end for a 14-track project. Only lasting 37 minutes, the album leaves a lot on the table that he could have potentially worked with.
“Malcolm Todd” is filled with the labyrinth that is love and the disease of self-doubt, pulling together some of Todd’s best work yet. The vulnerability displayed in each song, while adding a modest twist on his style to complete his story, is conspicuous.
His genre-blending of silky R&B tones and indie grooves are undeniably “Malcolm,” as he reaches a new level of maturity in his songwriting and production. The album flows together perfectly, with each song feeling intentional and going far beyond the catchy melody.
The emotional depths within each song fade into one another like a conversation, creating a cohesive yet diverse blend of tracks.
It’s clear Todd isn’t chasing trends, refusing to flame out and bend his unique usage of synths and obscure chords on his way to delivering arguably his best work to date.
