“REVERIE ….FROM THEN TILL NOW” is a declaration, a reflective pause, and a deeply personal arrival point for Michellar. Released on January 2, 2026, the record feels like a long-awaited exhale after years of quiet dreaming. From the opening moments, it’s clear that this is a body of work shaped by lived experience rather than industry pressure. Michellar approaches songwriting as a form of truth-telling, and across these tracks, that truth unfolds gently but insistently. The album doesn’t chase trends, but leans into timeless storytelling, emotional clarity, and the courage it takes to speak in your own voice.
The opening tracks immediately establish the album’s reflective arc. “Its Another Year” sets the tone with understated grace, capturing the bittersweet awareness that time moves forward whether we feel ready or not. There’s a sense of reckoning here — not regret, but acknowledgement — as if Michellar is standing still long enough to take stock of who she has been and who she’s becoming. That introspection flows seamlessly into “Running Wild,” featuring Harrison Black, a song that contrasts freedom with restraint. Tobias Wilson’s musical contribution here gives the track a subtle momentum, while Michellar’s lyrics ground it emotionally, exploring the desire to break free without losing oneself in the process.
As the album unfolds, Michellar’s collaborative instincts shine without ever diluting her voice. “Intersection,” with Toby Wilson, feels like a metaphor not only for relationships but for creative convergence — where past and present meet. The song is hushed and contemplative, allowing space for silence to speak just as loudly as melody. “Promise” follows as a tender vow, stripped of grand gestures and instead focused on emotional sincerity. Michellar’s vocal delivery throughout these early tracks is unforced and honest, echoing the folk traditions that shaped her upbringing. You can hear the lineage of James Taylor and Carole King not as imitation, but as inheritance.
Midway through the album, “September,” featuring Helen Walford, arrives like a memory you didn’t realise you’d been carrying. The song feels seasonal in spirit — nostalgic, wistful, and emotionally warm. Walford’s harmonies blend beautifully with Michellar’s voice, adding depth without overpowering the intimacy of the track. That emotional layering continues in “We Both Can Fall,” featuring Gracie Lou, which explores vulnerability not as weakness but as shared ground. It’s one of the album’s quiet revelations: the idea that falling isn’t something to fear if you’re not doing it alone. The restraint in the arrangement allows the song’s message to resonate long after it ends.
“Never Say Sorry” shifts the emotional weight of the album, offering a subtle but powerful act of self-reclamation. Rather than bitterness, the song carries a calm resolve — an understanding that apology isn’t always owed, especially when survival and self-preservation are at stake. “The Letter” feels almost confessional, as if the listener has been invited into a private moment. Recorded in San Francisco and mastered in the UK, the song bridges geography just as it bridges past and present. There’s a handwritten quality to it — emotionally raw, slightly fragile, and deeply human.
The album’s centrepiece, “Reverie,” encapsulates the spirit of the entire project. This song is where Michellar fully steps into the space she describes — a place of peace, self-acceptance, and creative safety. It’s not escapist, but restorative. The track feels suspended in time, echoing the idea that reverie isn’t about longing for the past but about honouring the journey that led here. Knowing Michellar’s story — years of silence, fear, and self-doubt — gives this song an added emotional gravity. It’s not just a moment of calm, but a victory.
As the album moves toward its conclusion, “Get Me There to Church,” featuring Helen Walford and Harrison Black, introduces a communal, almost spiritual warmth. The song carries gospel undertones without being overtly religious, focusing instead on guidance, grounding, and shared humanity. “Conquer All with Love,” a duet featuring Harrison Black and Christina Rntd, feels like a mission statement. Love here isn’t naïve or idealised — it’s resilient, hard-earned, and deeply intentional. The chemistry between the vocalists adds richness, reinforcing the idea that love, in all its forms, is something built together.
The closing track, “The Star,” feels like a gentle benediction. Rather than offering resolution, it leaves space — a quiet reminder that journeys don’t end, they evolve. It’s a fitting conclusion to an album rooted in perseverance and rediscovery. Michellar doesn’t present herself as someone who has all the answers; instead, she offers presence, honesty, and a willingness to be seen. That vulnerability is what makes REVERIE ….FROM THEN TILL NOW so resonant. It feels less like a debut milestone and more like the beginning of a long, overdue conversation.
Ultimately, REVERIE ….FROM THEN TILL NOW is a testament to the power of patience — with oneself, with art, and with time. Michellar’s late-blooming creative resurgence is not framed as loss but as accumulation: years of feeling, listening, and living finally finding their voice. Guided by Tobias Wilson’s thoughtful production and enriched by a circle of collaborators who respect the emotional core of the work, this album stands as a deeply human document. It reminds us that it’s never too late to return to a dream, and that sometimes, the most powerful music comes from those who waited until they were truly ready to speak.
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