Intimate. Raw. And poignant. It’s the sort of music that you play in your headphones as you stare at your ceiling, or out the window of a car. The sort that plays as the protagonist in the film is at her lowest point, getting honked at for crossing streets without looking, sitting at coffee shops and perhaps even staring out of a window herself.

Bea of Beabadoobeedoo is only 19 and she’s singing about what she knows: love and heartbreak. There is an unmistakable sincerity and purity in her music. There aren’t any forceful instruments or impossible chord progressions. The lyrics aren’t particularly intriguing on their own either, but in the context of the song or rather with the context of Beabadoobee’s musicality, they become fairly piercing.

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Her songs are generally simple guitar-focused indie-pop tracks. They highlight her gentle and pretty voice. The tracks lend themselves to the sort of bedroom DIY aesthetic that Beabadoobee fits fairly comfortably in. These bedroom session releases of her tracks ‘Disappear,’ ‘Soren,’ and ‘1999’ further cement her prowess in that genre. 

She sits alone on her bed in a corner of her room. Just Bea, her guitar, and an array of pictures and posters stuck on the wall behind her. The tracks she’s released thus far fit perfectly into this context. In fact, almost any of the tracks on her Spotify would. 

As it turns out all the tracks on her latest project “Loveworm” will get his same bedroom session release. June 27, will see the next of these releases, this time for her track “Ceilings.”

The bedroom sessions she has released so far are worth a watch if you want to learn the chord progressions for any of the tracks. It seems the same will apply for the future bedroom session releases. 

They are overall nice simple videos and if you don’t know Beabadoobee they will give you a reliable introduction to her aesthetic and style. If you are diving into her music for the first time the colorful, cartoony music videos for ‘Disappear’ or ‘If You Want To’ will still serve as the best introduction to her. Or, of course, you could simply play her latest album through.

“Loveworm” and the rest of Bea’s very limited discography is pleasant and promising. It’s sorrowful enough to soundtrack your next heartbreak or solo crying session, yet soothing enough to clean the house or, as I did last night, fall asleep too. She’s good, but not without plenty of room for growth. And as the subsequent bedroom sessions drop and Bea releases more music, I hope and believe she will fully realize her potential.