“Just yesterday somebody told me that I was intimidating,” Maggie Rogers tells me, ambivalent chuckles bookending her statement. Rogers and I are on a transcontinental phone call discussing her new album, Heard It in a Past Life, which dropped in January this year, as well as the ever-swelling attention and tumult (and criticism) accompanying it. A genuine fan of the singer-songwriter’s whimsical, open-hearted pop tunes since long before this interview was scheduled, I find myself curled up on a couch in my office, shoes off, chatting with Rogers like a long-lost friend. “I guess if being intimidating means that I’m a powerful woman in charge of my craft, then I’ll take it,” she continues. “But there’s another part of me that’s like, oh man, I want to be welcoming and warm and kind.” Rogers sighs into the speaker. “I think there’s a way to be both. I just don’t know what the right word for it is.”
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