Annie DiRusso – Super Pedestrian
Annie DiRusso – Super Pedestrian – Album Review
Where do I even begin with this?
I’m only one sentence in, and I’m already trying to be conscious of the fact that I wanna write you a novel about the music of Annie DiRusso. If you’re on these pages of ours, you definitely know her name. If you’ve ever been within earshot of me talking about music, you have definitely heard me talking about her. If you have ever wondered if we’re really even friends or not, the answer to that is answered by a simple question – do you listen to Annie DiRusso? I have been a fan of this incredible lady since she first started releasing her music into the world, more than seven years ago when I stumbled onto a couple of singles she’d put out there called “Gone” and “Blue Walls,” both of which would be considered the deep cuts only real ones know at this point. For the record…I mean…maybe it’s nostalgia talking…but even her earliest material still holds up strong AF – I remember both of those amazing songs from start to finish, though I’d assume she’s likely left them long behind by now. I’ve never seen her play them live, and I’ve had the privilege of seeing her play twice right here in Vancouver, BC…but I always keep my fingers crossed for’em. We all outgrow what we do at the start…we all end up making new things that we’re even more excited about…Super Pedestrian or not, Annie DiRusso ain’t a teenager no more, you know? She’s had music featured on Colbert, she’s opened for major acts like Haim, she’s been reviewed in Spin, she’s rocking full tours on a global scale, and achieved so much more throughout the years, including this here shiny debut album of hers, which yes, I have on vinyl, in addition to shirts from the last two stops she’s made here at Fox Cabaret. Being Super Pedestrian is debatable…she’s superhuman, to me.
Let’s be real here…seven plus-years seems like a long time to get that first official record out there into the world, right? Trust me when I tell ya, it ain’t like she hasn’t been keeping busy. If you add up all the singles you can find online, compilations that she’s been featured on like Good Music To Ensure Safe Abortion Access To All or more recently on Good Music To Lift Los Angeles, and her first EP, God I Hate This Place – she’s never went a year without releasing something, and she’s continued to refine her craft in ways you simply can’t ignore. I put on Super Pedestrian for the first time, heard “Ovid” start up, and I felt like I was instantly hearing the record that Annie has always wanted to make. On her terms. Her way. Filled with personality, charm, punch, and potent kickassery. “Ovid” ain’t just a good start to an album, it’s a great one by all measures. From the powerful drums to the brilliant additional synth additions…the effects…production…songwriting chops and cleverness in the structure – I mean, LOOK – I have no qualms about admitting I’m a superfan, so you’re welcome to take whatever I say with the ol’ proverbial grain of salt if you like…but LISTEN…and you’ll know from track one that I tell you no lies. “Ovid” is ridiculously addictive, to the point where you might even be apprehensive about moving on to the next damn track, and that dear readers, dear friends, is one hell of a nice problem to have. Embrace the fear, and continue forward…I can promise you, Annie is just getting started blowing your mind with this debut album. If you find a dead-spot in this lineup, make sure that you’re listening with the right holes.
“When you’re back, you’re back,” as she says…and dude, she is SO back! “Back In Town” is about as single-worthy as a track could ever be, and the execution is flawless. From the insatiable rhythm and melody she’s rockin’ with, to the outstanding job she does in singing this song, “Back In Town” is one of those tunes I don’t need to sit here and advocate for – it’s destined to be universally loved. It also made for an incredible highlight and moment of honesty at her recent show here in Vancouver. DiRusso pulled out a treadmill to walk on as she performed, which the crowd loved and cheered for – and when she asked if any of us could actually see it, we all shouted “no” while we laughed together. Sometimes it’s the thought that counts, right? The audience fully appreciated the effort and we got the point…it was still effective, and another highlight for the fun you end up having at Annie’s shows. Anyhow…like I was saying, “Back In Town” is built & designed to be the single that it became, and it’s a great song that’ll be the gateway for many people listening to her music. Most crucially, and I really think this is a perfect example of what I talk about with so many artists/bands starting up – HER voice is what you hear. I’m not talking about just the singing – I’m talking about the perspective in her lyricism. Annie says things the way that SHE would say them…I’ve never once felt like she’s simply reaching for another word that rhymes, or pulls any punches when it comes to saying what she really wants to say, exactly how she wants to say it. And I freakin’ LOVE that about her. She’s real as fuck, and that’s one of her most endearing qualities y’all.
“Leo” might have my vote for song that comes out even stronger live than you’ll hear it on the record. No joke, this becomes a real MOMENT when she plays it live, and with her double-microphone, head-shaking manual-meets-audio effects method…like…damn…it’s something to experience! As far as the recorded version goes, she ain’t disappointing by any stretch of the imagination either…it’s a quality cut that goes further to the edge of her Alt-Pop style in a similar way that “Ovid” did to confirm that she’s got a ton of energy & true grit combined on Super Pedestrian. Sure, it’s undeniable that these are still Pop songs at their very core…I don’t think there’s any getting around that fact or any need to try to hide that…but the way that Annie spins Pop is significant. She’s able to give it a brilliantly artistic twist, or a noticeable alternative vibe if she wants to, and these things can flare up at any given time. Like, “Leo” is a perfect example of a song that she could play in a variety of ways depending on the place she’s in or the bill that she’s on. Headlining in Vancouver and left to her own devices, she chooses to rock the fuck out, and I’m down with that! “Leo” has got supercharged Pop hooks that run deep through the verses, and then in its chorus, explodes into a whole second chapter of its energy that bursts like a sonic fireball.
The innovation runs super damn deep in the way that she’s made this record and the things she’s been willing to try with her material. It makes a massive difference in the entertainment factor compared to most other records out there, lemme tell ya. I mean, take it from a guy that’s literally reviewed THOUSANDS of them…what Annie has done on Super Pedestrian has given the album a multi-dimensional sound that will lead to its longevity. It’s things like the way she did the chorus for “Leo” – and also on “Hungry” right after it. If we’re talking about the Alternative spirit that this album contains, there’s maybe only one example I can think of that might outrank what she achieves with “Hungry,” but make no mistake, this is one seriously killer cut. When you listen to the verses, you realize she could have been a leader back in the Riot Grrrl days if she’d been around back then…there’s attitude in what you hear in a song like “Hungry” that would fit in perfect with that whole sound…but her crossover style is also so brilliantly crafted, that she could easily fit right in with acts like Veruca Salt or Haim for sure. I really dig what she’s done in the verses of “Hungry,” but I’ll admit, it’s the chorus that absolutely blows my freakin’ mind and has me reaching for more volume every single time I hear it. The seamless way that she switches gears as she sings and structures her material now though, is precisely what shows how much evolution has occurred in her artistry…DiRusso performs with the confidence of a veteran now, and rightly so she should. She’s been out there…she’s put her time in the trenches at this stage of the game. From day one I’ve preached about how the more she believes in what she does, the further she’ll go. That’s still true, but it’s also awesome to hear that happening in real-time as you listen now.
What she’s also mastered, is how to find those remarkable unique, indie-style ways of making us love her for who she is, with no pretense or bullshit getting in the way. “Legs” is a stellar example of a song that many people wouldn’t dare to write in how forthcoming she is with the intimate details she shares, but an equally empowering example of how she’s unafraid to tell it like it really IS. Who wouldn’t love that? You kidding me? I wish everybody out there wrote from an honest, unfiltered perspective like DiRusso does. The fact that she can do that, and somehow find these absolutely irresistible hooks at the same time speaks volumes on behalf of how much of a natural she is. I’ve been shouting at you all since I first started listening to her that she’s got an X-factor that most folks would kill for, and to hear that so radiantly embedded into every damn one of the songs on Super Pedestrian has been nothing short of awesome. Don’t get me wrong, I like to be right…that’s a thing…but to be completely truthful, I’m just so entirely proud of Annie for changing WITH her music, and not FOR it – you know what I mean? Her sound is continually evolving and growing in tandem with her, but it’s never something that ever feels forced…and she should be incredibly proud of that. She’s going to go on and try many things I’m sure, but as long as Annie stays Annie, she’s going to find success in anything she attempts. That’s what real authenticity is all about y’all…take some notes…DiRusso gets it. “Legs” is another cut that could never hide its single-worthy sound, but good lord…LISTEN to all the extra awesomeness she’s added into it along the way as well. It flows like a great Alt-Pop song, but the way Annie fearlessly shakes things up or adds things in through the keyboard parts, breakdowns, backing vocals…she’s firing off at an all-star level, and I can promise you this – no matter how far she’s already come, she’ll continue to go even further. She’s clearly focused as an artist, and as a result, she built a whole career at a very young age. She’s a generational talent that will go on to become an absolutely global superstar. Quote me on that.
By the time I got to see her last show at Fox Cabaret here in Vancouver at the end of March, I had been spinning my way through Super Pedestrian as much as possible so that I could sing along, obviously. Do you know how damn satisfying it is to hear one of your favorite artists of all-time come out onstage and tell you that YOUR favorite song is currently THEIR favorite song on the album too? Trust me when I tell ya, it’s rarely a match…most artists love a song on their albums that never seems to connect to the folks that listen to it, and vice versa is equally true – fans tend to love songs that artists almost end up regret writing. NOT THIS TIME. “I Am The Deer” is EVERYTHING. I knew it right away, and clearly Annie knows it too. The sheer level of badassery this song contains could be measured in metric TONS y’all. Not only was it awesome to hear that she was loving it as much as I have been, but to hear that what she meant in writing it…that she could either be the deer or the driver in her life at any point…honestly, it all came across so clearly in this concept that I was sure that was what it was all about before hearing her confirm it from the stage. For real…this song is so potent it’s freakishly staggering! Easily one of the grungiest cuts on the album, but man…we’re gonna have to start acknowledging that the further Annie has contorted her Pop tendencies in an Alternative direction, the more gripping the material has become. I can tell you that I’ll be listening to “I Am The Deer” twenty years from now…this song has got serious teeth to it, with awe-inspiring execution. I will never get tired of hearing Annie DiRusso play this song. On a record that is filled with outstanding material, “I Am The Deer” hits different in all the right ways – I find this cut as spellbinding and captivating as it gets…between the music & vocals, this is jaw-dropping. Any decision we make in life could make us the deer, or the driver, if we’re not too careful…this is a cautionary tale – consider yourselves warned!
Love the pairing of Annie and Ruston Kelly on “Wearing Pants Again,” just about as much as I loved the pairing of MJ Lenderman with Waxahatchee on “Right Back To It” last year…these are examples of two complementary sounds that are simply outta this world. The sincerity and emotion in “Wearing Pants Again” is genuinely award-worthy. The way that Annie is able to shatter and devastate us from the get-go as it begins, to the way she gives us just a spark of redemption by the final line of this song, is one of those incredible moments you don’t forget. If you dropped a tear or two in listening to “Wearing Pants Again,” I assure you, you’re likely not alone…DiRusso gets every ounce outta this song from its melody to its lyricism. As always, she retains that remarkably relevant way of communicating through her music that makes the entire experience real as real can be. You know how that whole thing about the key to suspension of disbelief being that it never gets broken? That’s the magic. That’s what putting your true self into your music allows you to accomplish…because if you’re always being real, if you’re always writing from a place that represents YOU, who you are, how you think, and how you feel – that is always going to come across authentically to everyone listening. There’s nothing contrived about the music that Annie DiRusso makes, and tracks like “Wearing Pants Again” highlight how that strengthens the connection she creates with listening ears. It’s a slow jam, yeah…but it’s the record’s first one…and what it dials back in energy, it makes up for in wow-factor. In terms of balance and completeness, I don’t know if there’s a better example you could find on this whole album – Annie and Ruston nailed this song from start to finish, and have really created one of the most memorable cuts in the lineup. The way DiRusso sings this song is fully next-level…as amazing as I’ve always known that she is, I listen to a track like this and even I’m blown away with the results…it’s beautifully melancholy and fully irresistible. These two work extremely well together, and if you need further proof on that, check out Annie being featured on Ruston’s latest EP, Dirt Emo Vol. 2 when they collab on a cover of “Complicated” by Avril Lavinge – it’s absolutely amazing.
I ain’t hating on “Derek Jeter” either yo! Look…she’s having some fun here at this point in the record, and while there’s no doubt that it’s a bit of a readjustment after you just come out of the album’s most noticeably emotional tunes – what better way to go about it? From what I understand, it’s actually Annie’s dad that you hear talkin’ stats & spittin’ facts about “Derek Jeter” – and how awesome is that? What a great way to pay tribute to your family! While I wouldn’t recommend that you all go about including your moms & dads in on everything that you do, what else can I say – the man hits a verifiable homerun here, and helps assist Annie in shaking up the set-list with another triumph of sonic diversity. It’s controlled chaos in all the right ways, and has that quintessential indie-spirit/attitude I love to hear on a record…it’s another incredible example of how Annie does things the way she wants to do them. Whatever you might expect her to do next, she’s happy to go in the opposite direction, and it’s that extra layer of unpredictability in what she creates that makes her exciting from the studio to the stage.
Who doesn’t like a “Good Ass Movie?” This song always brings a smile to my face. It’s just fun, straight up – and what else do you need beyond that? Dig the Spoken Word breakdown (which she’s happy to do live in concert as well)…the energy gets turned up to eleven here, but honestly, so does some of the cleverness of her songwriting too. It almost sneaks up on you because you can’t help but rock along with this track & you get caught up in all the good ass times that “Good Ass Movie” provides – but listen to the way the chorus works, will ya? It’s seriously brilliant. Whenever she hits that one line of “if it ever gets released,” I just wanna give her a high five. After we’ve all been flowing in the same direction with every second of this song, she sings “if it ever gets released,” and it’s like for a brief second, we’re all swimming against the current as we catch our breath. There’s no doubt about the universal sound she’s created with this track – from the concept to the results, we can all agree that a “Good Ass Movie” is a great thing, right? I can confirm this is a crowd favorite, because I’ve seen the room shake firsthand when she played it live in Vancouver…the court of public opinion has rendered its verdict – they fucking love it.
“Wet” was…what…the second single released in advance of Super Pedestrian? I think that’s right. I know it was one of the tracks that traces back the furthest before the album got released. And you know something? I’m gonna go ahead and say that it might STILL be the most single-worthy song you’ll find in the entire set-list. How’s that for track TEN y’all? That’s how freakishly deep this record runs! Truly though, this is stellar, through and through. She’s got lyrics that would make even Cardi B. blush, hooks in abundance from the verse to chorus, and she’s really created the kind of cut with “Wet” that every single member of the audience can participate in & sing along with. The execution is staggering once again…you’d swear that Annie had been making music for twenty-five years in listening to “Wet,” when the facts are that she’s actually only twenty-five years old! How amazing is that? I do have these moments where I’ll listen to “Wet” and feel like it’s very reminiscent of the way Everclear would actually go about creating a hit song back in the 90s…like, to the point where I can actually hear how Art Alexakis would sing this if I think about it…but that’s cool with me, I can get behind that, and I fully support the idea of them doing a collab on this track for a special release. No matter how you look at it or what you hear, I’m about as confident as I’ve ever been that “Wet” will be one of the most universally adored songs loved by all on Super Pedestrian – it’s just a damn great tune with zero flaws & smart songwriting. You get to that hook around the forty second mark, and believe me, it’ll make an impact from the very first time you hear it…but it ain’t long after that, that you’ll find you like…NEED to hear that on repeat.
The album might very well start and finish with two of its most underrated songs, but make no mistake, they’re absolutely essential to this lineup. “Ovid” starts things up on Super Pedestrian perfectly, and then proceeds to get avalanched by a barrage of equally incredible material to follow. “It’s Good To Be Hot In The Summer” is the true finale this album needed to have, and I honestly don’t think DiRusso could have brought an ounce more to it than it already has – it’s stunning, 100%, from start to finish. From its low-key beginning, to the way that it presents as such a simple song at the beginning, to the way that it fills up in the middle, and roars to its conclusion, before coming back down to the emotional weight it had when it started…this is the arc of storytelling through sound, and Annie delivers it all with an equal dose of fireworks and true grace. “It’s Good To Be Hot In The Summer” caps off what has been the best work she’s put out to-date, and a debut album she’ll be proud to build the rest of her legacy around. They say you get a lifetime to make your first record and two weeks to make your second, and sure…even I wonder what she can do for an encore after hearing how awesome Super Pedestrian is. If there’s one thing I’m absolutely positive of, it’s that I know DiRusso will somehow find yet another way to exceed any of the wildest expectations any of us could have. She’s done it time and time again. Read the reviews I’ve written in the past about her music…listen to podcasts where I’ve talked about her…it’s never been hyperbole dear readers, dear friends – it’s always been the unfiltered truth. She’s always been destined for greatness…and as she hits the highest notes of “It’s Good To Be Hot In The Summer” as it explodes into its most intense moments before the album finishes off…it’s comforting to know that good people like Annie end up doing what they were truly meant to do, and in the spotlight where they belong. I’ve never been anything less than objective, I assure you. I’m a superfan and proud to be one, but if I had something to say, or felt like she could do anything better than she has here, I like to think that I’ve proven throughout the years that I’d tell ya. The results speak for themselves when it comes to this album…Annie DiRusso took her time to make it a true representation of who she is…with her own unique perspective, the depths of her own thoughts and emotions, and how she wants to communicate all that with YOU…and she achieved exactly that. I’m thrilled with how this came out – and I know you will be too. All superfan-feelings aside – Super Pedestrian is one of the best albums you’ll hear in 2025.
Find out more about Annie DiRusso from her official website at: https://www.anniedirusso.com
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