In the age of algorithms, it seems inevitable that the mainstream music scene would become overcrowded with industry plants. These musicians are often accused of gaining traction not through their own talent or artistry but through their personal connections in the industry and their record label’s marketing and social media teams. At least according to most of the comments under his TikTok posts, it seems the most recent infiltrator is sombr—an alternative indie rock “poser.”
Like most online sensations, sombr has been subject to both fanaticism and criticism, and the fact that he is a Timothée Chalamet lookalike only adds fuel to the fire. sombr—whose stage name is a play on his initials, Shane Michael Boose—first gained traction in 2021 with a self-produced and -written single titled “nothing left to say.” After releasing his second single, “fine,” he was signed to Warner Records. The then-high school junior at LaGuardia High School decided to drop out and pursue music in Los Angeles full-time after his single “Caroline” went viral. Since then, his single-filled discography has grown into a collage of monochromatic photo covers. All of them allude to a mysteriously fleeting girl who broke his heart, or the other way around. Between his almost overnight success and the rapidity at which he landed a record deal many have questioned the authenticity of his work and success.
Then came the release of his highly anticipated debut album, “I Barely Know Her,” on Aug. 22. It, unsurprisingly, charted and has seemingly infiltrated everyone’s TikTok “For You” pages. While he has definitely garnered a contentious reputation I wanted to give this new album an unbiased listen. In defense of the industry plant, I thought it was good.
To start, the album’s production quality is fantastic. The instrumentation and textures that are brought to the table are fun, upbeat, nostalgic and, at times, heartwrenching. The entire album was produced by sombr, with the majority of the songs made in collaboration with acclaimed producer Tony Berg; they did a remarkable job. The musicality of “back to friends,” “we never dated” and “crushing” is infectious. What I believe was so effective about this album’s arrangements was its use of a more traditional five-instrument setup. As much as I love 2000s synth-fueled pop, I always appreciate arrangements that highlight live instrumentation. “I Barely Know Her” does a fantastic job merging modern synths and samples with acoustic rock elements. The result is a highly addictive sound that leaves you craving more.
Even more to his credit, sombr is an undeniably talented vocalist. “i wish i knew how to quit you” is a great example of sombr’s range and powerfully dynamic style. His ability to switch from a grave, almost devastating tone to a smooth and easy-to-sing-along-to style makes for a fun listening experience. What he is singing, on the other hand, leaves much to be desired.
The rumors of him being an industry plant feel all the more legitimate when taking a look at his songwriting. Despite the fact that some of the lyrics sound AI-generated, sombr is the only credited songwriter for the whole album. While the lyrics are not necessarily bad, they lack personality. It feels like sombr wrote what he thinks a breakup song should sound like—what people want to hear and listen to when they are hurting. He sings about what it feels like to miss someone—to be confused, lost and angry at yourself. It is not that the lyrics do not resonate or speak to heartbreak; they are just not new. Like the album’s title suggests, there is nothing too personal here.
If not comfortably familiar—as you stalk your ex’s Instagram page—the majority of the album has a tolerably generic lyric, but some lines are so ‘on-trend’ it’s laughable. My personal favorite being: “‘Cause you’re a ten / and I’m a man that needs a dime.”
What I find most upsetting about the album’s lack of lyricism is that I have found some of sombr’s earlier songwriting to be more genuine. His debut EP “In Another Life,” for example, explores similar themes of heartbreak and betrayal but with what I found to be a more original presentation. The lyrics are still not great: they are less catchy and not exactly imaginative. But they are rougher in a way that feels more genuine and less gimmicky. It is authentic and offbeat—or at least as offbeat as an indie sleaze-pop EP can get.
One could make the argument that sombr’s lyrics reflect a more modern dating culture—a culture of situationships, eye-contactships, internet stalking and dating apps where users can swipe right or left on hundreds of profiles a day. If we entertain this perspective, then the impersonal feeling of the lyrics is actually a reflection of an increasingly unhealthy dating scene—one that might compel a person to write a whole album for someone he barely knows—the weirdly impersonal nature of an inherently personal act. dating is certainly present throughout this album—namely in the song “we never dated,” where he documents the ache of a romanticized version of a past relationship, but this interpretation alone does not convince me of the album’s lyrical merit, and I am more compelled to say that his lyrics are just uninspired. That being said, I look forward to seeing what else he puts out. Whether or not sombr’s songwriting will improve, I think we can all look forward to a long pop career of consistently well-produced music. While sombr is no Jeff Buckley, I am choosing to turn a blind eye to his industry plant allegations and just enjoy his music. I recommend you do the same and appreciate “I Barely Know Her” for what it is: a well-done pop-rock album.
such an amazing article, vera!!!! congrats!!