Although the main theme of the album is relationships, mostly failed ones, Michaelson manages to touch on varied emotions with an honesty that veers around the uncomfortable, get-me-some-prozac-and-Ben-and-Jerry’s-stat whining, and drives to the purely relatable. On “Die Alone,” a song bolstered with bouncy “ba-da-dum’s” she speaks candidly about a familiar fear that many women experience with a hope that she has finally found someone to love. Even “The Hat,” which discusses a relationship she had when she was seventeen does not sound cliché, but adds new dimension to a quasi-cheesy subject.
Most of the album however, cuts down the “girl loves boy, boy doesn’t love girl, girl has broken heart,” imagery and reverses the gender roles or at the least, places them on equal footing. “Breakable” provides the line for the albums title with the lyrics “Breakable girls and boys.” Yes, both genders equally fragile. “Overboard’s” opening lines “I could write my name by the age of three and I don't need anyone to cut my meat for me. I'm a big girl now, see my big girl shoes,” set Michaelson up as an independent women and go on to acknowledge her need and want to fall in love and “fall overboard.”
For me, the standout song is “The Way I Am,” an uplifting track that includes simple and joyous hand clapping that a live crowd can’t resist. The song manages to glorify both the feeling of love and the concept of self in a way that seems so impossible for many female artists who veer towards the prozac-inducing love ballads. How can you not smile when listening to lyrics like “I'd buy you Rogaine if you start losing all your hair. Sew on patches to all you tear. Cuz I love you more than I could ever promise. And you take me the way I am.”
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