Alex G Confounds and Amazes on ‘Headlights’ » PopMatters
Alex G writes beautiful compositions that incorporate moments of experimentation—a challenging yet effective combination that sets him apart from his contemporaries.
Headlights Alex G RCA 18 July2025
At only 32 years old, Philadelphia singer-songwriter Alex Giannascoli, better known as Alex G, has already released ten albums, excluding EPs and his work on soundtracks. Much like Will Toledo from Car Seat Headrest, Alex G started as a Bandcamp sensation, but he eventually leaned into his renown as a primo indie songsmith. Headlights marks his first major label debut with RCA, which brought with it, among other things, a reckoning with his growing stature (as can be heard on the lyrics to “Real Thing”: “Hoping I can make it through to April / On whatever’s left of all this label cash”).
As much as Alex G has become a recognizable name, especially within indie circles, many of his fans still long for the days when he was still an innocent Elliott Smith devotee. For me, nothing compares to “Bobby” from his breakthrough Rocket (2017). His more recent works have included experimentation that can be jarring and come across as somebody trying too hard (consider his vocals on the single “Runner” from the 2022 record God Save the Animals). Headlights doesn’t quite end up being a return to form, but it contains many tender moments and beautiful compositions that seem to find the sweet spot between forging new ground and gazing longingly into the past.
Alex G proves to be a complex and ultimately confounding figure, as is captured in a recent Pitchfork interview. He is described as humble and equally mercurial. One has to wonder if the frustrating aspects of his persona are all part of the act or if he just struggles to articulate his own contradictions. Aspects of his music become more apparent in retrospect, such as how many of his lyrics originate from their phonetic quality rather than any deeper meaning. This element works to perfection on the wistful “Oranges” (“Oranges they fall from the trees / In the Florida Keys”), and that’s the simple beauty that can be found in his music.
The overarching sentiment of a song can be dark at times despite signs that suggest otherwise and vice versa. The crisp electric guitar of “Spinning”, reminiscent of Rogue Wave, courses through ominous strings and the singer’s desperate pleas. “Afterlife”, an affirmation for reincarnation, delivers a surprisingly upbeat tenor thanks to its prominent mandolin (which returns for a reprise). That’s part of Alex G’s ingenuity but also a cause for exasperation. Sometimes it comes off as an affectation, like the crooning “Far and Wide” sung in the nasally tone of John Darnielle from the Mountain Goats.
Alex G’s work is replete with beauty, but that prettiness becomes so burdensome that the result becomes distorted. Jason Molina incorporated this technique exceptionally well within his project Songs: Ohia. The soft morning break of “Real Thing” channels Nick Drake and, of course, Elliott Smith; then the outro locks into a groove that suggests more turbulent times may lie ahead. The gridiron themed “Beam Me Up” melds the cosmic with the mundane, drawing a parallel between an American football and a rocket ship (yes, relatively speaking, they both go up). However, the track contains a sense of longing rarely associated with either of these things.
Whether it’s Alex G’s bait-and-switch tendencies or his resourceful nature, one can appreciate how his music never maintains the status quo. From that standpoint, he separates himself from other singer-songwriters, embracing the role of postmodern troubadour. Tender opener “June Guitar” begins with the soft strumming of coffeehouse music and quite naturally incorporates unexpected elements, such as mousy backing vocals and swelling accordion. However, it’s the gorgeous title track that warrants repeated listens. The jarring synth midway through does nothing to knock the rolling tremolo guitar off course.
There is no doubt that Headlights will make many year-end lists, and understandably so, as Alex G continues to amaze, especially in places where one least expects it. Closer “Logan Hotel (Live)” even demonstrates what can happen when the singer’s bedroom pop is brought into the light, but it’s not really a live track, is it (just a song recorded live in the studio)? That’s the rub, as Alex G’s music challenges as much as it resonates.
As soon as listeners begin to figure how it all makes sense, something emerges to cause one to question why it matters anyway. Much to his credit, his best work has always highlighted that dichotomy.