The meteoric rise experienced after would have been thrilling and challenging for any artist, but navigating the cusp of adolescence and adulthood at the same time gave her a bounty of material for her second album. reveals that she didn't crumble under expectations -- instead, she took notes. Recorded with returning producer in the same garage studio where he and made , the album hones in on her soaring, soul-baring ballads and spiky pop-punk manifestos and perfects them. "Driver's License" may have been her debut album's mega-hit, but many fans connected with fiercely catchy singles like "Good 4 U." Several of ' standouts are in the same throbbing vein: cringes at herself and throws shade at an old flame on the new wave-y "love is embarrassing." She makes mistakes gleefully on "bad idea right?," a witty recollection of hooking up with an ex that rivals when it comes to chugging post-punk-pop with droll singalong choruses. Songs like these suggest that 's record collection is growing along with her confidence, and though the way "all-american bitch" swings from deceptively winsome folk to raging punk shares pages with ' and 's songbooks, she ties it all together even more convincingly than she did on . Likewise, ' not-too-raw, not-too-slick production bolsters her talent for giving complex moods wide appeal. The song "get him back!" tangles revenge and longing in some of the album's most scathing lyrics ("I wanna meet his mom/Just to tell her her son sucks"), but it sounds like a direct hit. This gift is almost as uncommon as her ability to write lyrics so relatable that it feels like she's read her fans' diaries -- or minds. confronts the sting of second and third heartbreaks with hard-earned wisdom, and tracks like "making the bed" and "logical" add a refreshing dose of self-awareness to the catharsis of "Driver's License." And while "vampire"'s recriminations against older men who leech off of her and "sell (her) for parts" may not reflect the everyday reality of her listeners, it brings them into her world with as much authenticity as her other ballads. even features songs her listeners might not know they need yet: The breathy "pretty isn't pretty" tackles lookism and body dysmorphia, near-universal experiences for young women with surprisingly few songs written about them. does a remarkable job of balancing moments that are very much of the time when she made the album with moments that hint at more: "teenage dream" yearns for the day when she won't be wise beyond her years, and "lacy" explores the intricacies of jealousy and yearning with nuance that a singer/songwriter of any age would be proud to possess. is emphatic proof that isn't just good for a kid -- she's grown into an artist with plenty of things to say, and the confidence and eloquence to say them her way. ~ Heather Phares