The Beaches No Hard Feelings
The Beaches’s No Hard Feelings arrives as a hook-first, nightlife-ready set that translates queer heartbreak into euphoric pop-rock catharsis, and critics largely agree it succeeds. Across three professional reviews the record earned an 83.33/100 consensus score, with praise for its blend of nostalgic synth/guitar textures and sharp, witty lyricism that balances anger, regret and ironic bravado.
Reviewers consistently highlight standout tracks as the album’s engines: “Touch Myself” and “Jocelyn” emerge as sticky, explosive singles, while “Takes One To Know One” and “Did I Say Too Much?” supply messy, relatable emotional punches. Critics note the band’s gift for pop hooks and new-wave influence, citing opener “Can I Call You in the Morning?” and closer “Last Girls At The Party” as examples of party anthems that mask deeper vulnerability. Across the reviews, Jordan Miller’s sly, sensual delivery and the group’s hooky songcraft earn repeated commendation.
The consensus is positive but measured: professional reviews praise the album’s bite and memorable choruses while pointing out occasional predictability and momentum lapses in mid-album tracks. For readers asking if No Hard Feelings is good or what the best songs on No Hard Feelings are, critics agree the record is worth hearing for its standout singles and its candid mix of sarcasm, self-love and coming-of-age bruises. Below follow full reviews that unpack how the collection stakes The Beaches’ claim to sharper pop-rock territory.
Critics' Top Tracks
The standout songs that made critics take notice
Takes One To Know One
2 mentions
""God, you’re a piece of work / Oh, takes one to know one,""— Clash Music
General album mentions
1 mention
"the quartet pick up where they left off, the set unfurling as a hard-pop masterclass"— The Line of Best Fit
Jocelyn
3 mentions
"On “Jocelyn”, the song’s subject is lauded for having direction and focus"— The Line of Best Fit
"God, you’re a piece of work / Oh, takes one to know one,"
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
Can I Call You in the Morning?
Did I Say Too Much
Sorry For Your Loss
Touch Myself
Fine, Let's Get Married
Takes One To Know One
I Wore You Better
Dirty Laundry
Lesbian Of The Year
Jocelyn
Last Girls At The Party
What Critics Are Saying
Deep insights from 3 critics who reviewed this album
Critic's Take
The Beaches keep their spunky, hook-first instincts intact on No Hard Feelings, and the best songs - notably “Takes One to Know One” and “Jocelyn” - land with messy, relatable emotional punches. Aly Laube's ear for the band highlights how “Did I Say Too Much?” channels ego-crushing humiliation while the trio of memorable tunes remind listeners why they fell for the group. The record can feel predictable in spots, with tracks like “Fine, Let's Get Married” and “Can I Call You in the Morning?” losing momentum, but the strengths in lyricism and catchy melodies keep it compelling. Overall, No Hard Feelings cements The Beaches' place in the wider pop-rock conversation while teasing greater boldness to come.
Key Points
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The best songs like "Takes One to Know One" win through sharp, witty lyrics and memorable hooks.
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The album's core strengths are hooky songcraft, queer-hearted storytelling, and nostalgic synth/guitar textures.
Themes
Critic's Take
The Beaches’ No Hard Feelings doubles down on breakup-era bravado while leaning into nightlife and party catharsis, and its best songs - “Fine, Let’s Get Married” and “Takes One To Know One” - crystallize that shift with addictive, euphoric choruses. The reviewer tracks Jordan Miller’s witty, ironic lyricism from the mock-serious sting of “Sorry For Your Loss” to the deceptively horny push of “Touch Myself”, and finds the record’s centerpiece in the diptych of upbeat, resolving earworms. Closing anthem “Last Girls At The Party” lands as the album’s full-on party manifesto, leaving the band sounding like they have finally forgotten their exes.
Key Points
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The diptych of "Fine, Let's Get Married" and "Takes One To Know One" forms the album's emotional and musical centerpiece, delivering addictive choruses and resolution.
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No Hard Feelings blends breakup irony with party-driven, euphoric surf-pop and post-punk elements, turning personal trauma into communal celebration.
Themes
Critic's Take
The Beaches go big and tight on No Hard Feelings, and the best songs - notably “Can I Call You in the Morning?” and “Touch Myself” - make that case in a hurry. John Amen writes with sly relish about Miller's sensual, muscular, and nuanced voice, and he singles out opener “Can I Call You in the Morning?” for its catchy guitar licks and economical construction. He praises “Touch Myself” for its grabby melody and explosive chorus, and he points to “Jocelyn” as another stickily melodic highlight. The review frames these tracks as the record's hooks-first victories, pop songs that conceal darker, rueful undercurrents while insisting you sing along and replay them.
Key Points
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“Can I Call You in the Morning?” is best because it marries catchy new-wave guitar licks with economical songwriting.
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The album’s core strengths are irresistible pop hooks, Miller’s textured vocals, and a balancing of brashness with vulnerability.