David M Rangel / December 10, 2025 / Review
To many, the name Juliana Hatfield likely evokes thoughts and images of 90s culture. From her first independent label band, Blake Babies ,to her later stint on Atlantic Records with The Juliana Hatfield Three, Hatfield always seemed to have two fingers on the pulse of indie cool. Her biggest songs included “Spin the Bottle” which was prominently featured on the soundtrack for Reality Bites, a movie that was the spot on epitome of twenty-somethings in the 90s, moving into adulthood. She also had a hit with “My Sister”, a song about a sister she did’t actually have, which was all over alternative radio at the time.
But, as is the case with many artists who are associated with a certain time, Hatfield has been around all along, even if the spotlight has not been blaring as brightly as it was in her 90s heyday. In addition to numerous solo albums, Hatfield has done one-off collaborations as well as entire bands with an impressive array of alternative artists including: Paul Westerberg (The Replacements), Mathew Caws (Nada Surf), Mary Lou Lord and Freda Love Smith (Hatfield’s former bandmate in Blake Babies). While many of these projects flew relatively under the radar, Hatfield maintained the kind of songwriting and vocal prowess that can often make mundane subjects sound cool and catchy.
In December of 2025, we now have a middle aged Juliana Hatfield. She hasn’t lost her catchy songwriting sensibilities. But the song’s subject matter has changed. They focus more now on self-reflection and the life changes that naturally occur with aging. The still slightly aloof queen of cool is now less about ending up in closets with actors, and going to Del Fuego shows, and more about her mother‘s cancer diagnosis, the deaths of her dog as well as a close friend, and the evaluation of her own life’s wins and losses.
Lightning Might Strike (Out December 12th on American Laundromat Records) is a continuation of the vibe Hatfield has been known for all along. As someone who has revealed in interviews that she has experienced her share of depression and bleak times, her music often juxtaposes existential dread with melodic, indie pop and folk style sounds, led by her ever schoolgirl-sounding, higher register vocals. The latest album is no exception. The production alone gives off the warm style of a 90s cassette tape, updated and sound processed for 2025.
One of three pre-released singles, “Scratchers” starts out as a minimalist sounding guitar song in the style of Ivy, Luscious Jackson and other female-lead guitar pop bands. It has a timeless appeal and sounds as if it could have been recorded 30 years ago, or yesterday. It chugs along steadily in a minor key, rising up to some brief, bright vocal harmonies and eases its way back down to a lush outro where the album title is sung on repeat.
Another single, “Popsicle” sounds as catchy and fun as its name. But Hatfield waxes reflective about disappointments in her life and things that never came to fruition, over an infectious three word chorus that feels like an idea The Posies could have had, circa 1994. It all comes to an end with a lone vintage-sounding keyboard riff that sums up the sadness of the tune’s yearning for self-actualization, that never comes.
Even in the depths of doom and gloom, Hatfield shows she can be resilient and find hope and relief within the sounds of her instruments. “Ashes” is one of the brightest songs on the record dealing with the darkest subject – the death of a good friend. The pain one experiences through that is offset through Surfs Up – era Beach Boys sounding music. You can practically hear the cathartic effects of recording the song in Hatfield’s vocals. The sound is sincere and may be some of the best vocal takes she’s had in her long, steady, musical career.
Lightning Might Strike may not break any outstandingly-new-sounding musical ground. This is classic Juliana Hatfield as we have always known. The instruments and arrangements aren’t unlike sounds she was making 25+ years ago. What is apparent is the evolution of Hatfield’s songwriting and ability to change perspectives that apply to the current period of her life, while still remaining relevant and on the level of an internationally respected musician. Her vocals have not only aged well, but they have not aged at all. The songs are timeless and a good continuing point for any longtime fan, as well as a proper introduction for new listeners.
Hear the latest single here, and listen to the entire album when it’s released this Friday.
The Indy Review 