Halsey - The Great Impersonator

Does a story die with it's narrator?

Halsey uses she/they pronouns, this review uses "she" for convenience.

When I first learned about the concept behind Halsey’s new album, The Great Impersonator, I was skeptical. The stakes seemed incredibly high, from the concept of paying tribute to some of the biggest names in music history to the ambition of creating an album that could stand alongside those influences. The early singles, though promising, felt uneven and disjointed, which only heightened my concerns.

But now that the album is out, I have to admit, Halsey has proven herself not only as a great impersonator but also as a master manipulator, pulling off this concept with finesse. While the album takes inspiration from some of the biggest names in music—Dolly Parton, Britney Spears, PJ Harvey, Fleetwood Mac, Bruce Springsteen, Fiona Apple, David Bowie—Halsey doesn’t treat them as something to copy. Instead, she approaches their work as a reflection of the eras they embodied, drawing inspiration from their ethos rather than their exact sound. In doing so, she creates a body of work that, despite the heavy influence, feels uniquely hers. The narrative flows logically and naturally, much of it underscored by deeply personal themes.

One of the strongest elements of this album is its exploration of darker, heavier themes. While love, fame, and legacy are certainly part of the record, the overarching theme is the fear of death—how we confront our mortality, what we leave behind, and how our perspective on life shifts over time. This is particularly poignant for Halsey, who has faced serious health issues in recent years. Though she has since recovered, the trauma and reflection brought about by those experiences clearly left a lasting impact, and that raw vulnerability shows up throughout the album.

The opening three tracks serve as an emotional prelude, distinct from the era-driven narrative that follows, but they pack such visceral intensity that they immediately grip the listener. Anger, desperation, and fragility are all laid bare, creating a captivating start. The track “Dog Years,” clearly inspired by PJ Harvey, stands out for its biting sarcasm and manic energy. It pushes you to confront emotions often tucked away, opening the door to a kind of chaos and despair rarely explored in mainstream music.

As the album unfolds, it takes a more structured approach, moving through eras of the ’70s, ’80s, and ’90s. The first half of the album does an excellent job of breaking down emotional barriers, asking the listener to reflect not just on Halsey’s life and career, but on their own experiences. Halsey jumps between different states of mind, from a woman on the verge of collapse to one who has found hope again. The second half of the album does feel slightly long. With 18 tracks spanning over an hour, there are moments when it starts to drag. Tracks like “Arsonist,” “Life of the Spider,” and “Hurt Feelings” feel like they could’ve been cut or saved for a deluxe edition. The golden rule is: when an album feels too long, it usually is.

However, the album regains its footing with the final two tracks—“Letter to God (1998)” and the title track “The Great Impersonator.” These songs restore the album’s focus, especially the closing number, which ranks among the most impressive work of Halsey’s career. The production, lyrics, and playful tone reveal a fresh, exciting side to her artistry. It’s clear that both the song and the album represent a new peak in her creative journey.

In the end, The Great Impersonator is personal, raw, and ambitious. It’s perhaps the most honest Halsey has ever been in her music. Though the album is not without its flaws, the emotional depth and artistry on display are undeniable. The grand concept may not have fully materialized in every aspect, but that’s what makes it work. Halsey doesn’t need to impersonate anyone else to make her point—she’s shown that impersonating herself is more than enough.

8.1/10