Lisa Goldin - Something I Used To Wear

Lisa Goldin

Something I Used To Wear
self-released; 2025

By Matt Jensen

Something I Used to Wear is an album by Lisa Goldin. It’s a long one, clocking in at sixteen tracks, and it opens with “Apparently,” a minimal piece built on piano and vocals. Goldin sings with a kind of emotional directness that places the spotlight firmly on her voice. The arrangement is bare, which makes the delivery feel intimate and immediate.

Then the second track hits, and I had to check if I was still listening to the same album. “Something I Used to Wear” sounds like an entirely different project, produced like a slick pop single with bright synths and production touches that nod to 1980s radio hits. The jump between tracks is jarring, but also kind of fascinating.

“Three Days” pivots into cinematic ballad territory. It’s the kind of track that could soundtrack the final montage of a Disney film, full of swelling chords and big emotional arcs. “Like That” starts out in familiar territory again, with understated vocals and a sparse arrangement, before blossoming into a bubbly pop number. “How Love Can Start” and “Heartbeat” feel more conventional, with predictable structures and shiny hooks. “Fallin” brings things back down, just piano and voice again, which felt like a needed breather.

As the album continues, songs like “Tell Me,” “Let It,” and “Hope” (featuring Vox Chamber Choir) stretch further into sweeping, cinematic territory. “Hope,” in particular, sounds like something you’d hear during the credits of a high-stakes fantasy epic—melodramatic in the best way. There’s a grandeur to it that feels earned.

Something I Used to Wear jumps between styles with the confidence of someone who’s not afraid to risk a little whiplash. Some songs sound like they were built to climb the pop charts, others feel ripped from the stage of a musical. Through it all, Goldin remains the grounding force. Her performances feel deeply present, like she’s walking barefoot across each arrangement, testing the texture of the floor beneath her. It’s uneven at times, but never insincere. There’s real ambition here, and I’ll be keeping an eye on where she goes next.

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