Brooklyn-based indie-pop artist Nathalie Miller twirls between nostalgia, femininity, and self-realization on her shimmering sophomore EP like you used to, out Friday, October 24. Sparked by a paraphrased Martha Graham quote about the pain of letting go of what defines us, the record explores what it means to grow, to grieve former selves, and to rediscover joy through art.
A former dancer and photographer from Massachusetts, Miller found her voice in songwriting—a medium she describes as something that “automatically writes itself in my head even when I’m actively trying not to.” Working alongside producer and multi-instrumentalist Brian Charles at Rare Signals in Cambridge, she transforms those fleeting moments of inspiration into cinematic soundscapes filled with piano, banjo, mandolin, and playful experimentation.
Across the EP, Miller paints vignettes of life in motion: the defiant “witches don’t burn,” inspired by New England’s witch trials and purity culture; the glistening “slippers,” a witty reflection on modern womanhood born from refrigerator word magnets; and the propulsive “sit and stew,” an upbeat track that hides darker themes beneath its pop sparkle. Lead single “kansas,” with a video directed by Palmer Wells and Christopher Consoli, reimagines friendship heartbreak as a “platonic break-up song,” blending humor and ache with vivid honesty.
Through like you used to, Miller builds a world both ethereal and grounded—a collage of confessions, reflections, and resilience. She embraces pop sensibility without apology, unlearning the idea that what’s feminine is somehow less profound. “Once I got over the internalized misogyny of pop being seen as not art,” she says, “I stopped policing the genre as much.” The result is an enchanting portrait of a young woman coming fully into her own voice—one that dances, even after the music stops.