Madison Beer released her second album, “Locket,” on Jan. 16, 2026, framing a relationship’s arc from early confidence to breakup fallout through the metaphor of a locket opened for listeners to examine.
“Locket” uses the jewelry piece as a symbol of memory and intimacy, with songs that revisit the highs of love in the moment and the ache that follows.
A locket typically opens to hold a photo or message, and Beer leans on that idea as she shares what she presents as a personal record of a past relationship.
The album opens with “Locket Theme,” a brief introduction that sets the tone and positions the project as a reveal.
It quickly shifts into “Yes Baby,” a darker pop track that captures the rush and risk of starting something new.
Moodier cuts follow, including “Angel Wings” and “For the Night,” which emphasize strain and emotional need as the relationship begins to fray.
“Bad Enough” continues that slide, with Beer holding on to what still feels good as the situation worsens, while “Healthy Habit” focuses on the exhaustion of repeating the same patterns.
“You’re Still Everything” stands out as one of the album’s emotional peaks. Beer has said in interviews that she was overcome while recording the song and kept the processed vocal take because it matched how she felt, describing herself as sounding like “a sad robot.”
The track centers on a turning point where devotion remains on one side but is no longer returned.
“Bittersweet” brings a more upbeat sound as Beer moves toward acceptance, balancing relief with lingering pain. “Complexity” follows with a portrait of a breakup that offers no clean explanation, only unresolved emotion.
Late in the tracklist, the Grammy nominated “Make You Mine” lifts the mood and signals a push toward renewal, as Beer pivots from reflection to forward motion.
The album closes with “Nothing at All,” a quieter final track that treats the locket as something she can finally remove, a symbol of letting go of both the relationship and its weight.
Across “Locket,” Beer presents what she describes as her most personal work, using a straightforward narrative sequence to move through confidence, doubt, anger and acceptance.
The result plays like a guided scroll through old photos: intimate, specific and designed to be kept close until it isn’t.
