Maggie Rogers
The 2010s saw a wave of American singer-songwriters blending folk traditions with contemporary pop production, finding common ground between acoustic warmth and more polished, modern sounds. Maggie Rogers, born on April 25, 1994, in Easton, emerged from that moment as a singer, musician, and songwriter working across indie folk, folk-pop, art pop, pop music, and alternative music.
Rogers attended St. Andrew's School before going on to study at New York University's Tisch School of the Arts, where she pursued her craft within a structured creative program. Her work sits at the intersection of several overlapping genres — the directness of pop, the texture of art pop, and the more personal sensibility of indie folk — giving her a range of influences to draw from as a singer-songwriter. She later studied at Harvard Divinity School, extending her education well beyond the recording studio and into academic territory.
As a United States citizen shaped by both formal arts training at Tisch and continued study at Harvard Divinity School, Rogers has built a profile that spans the musical and the academic. Her genre affiliations — indie folk, folk-pop, art pop, pop music, and alternative music — reflect the breadth of what she works within as a singer-songwriter and musician. That combination of Tisch training and Harvard Divinity School enrollment stands as a concrete marker of how her life has unfolded across more than one kind of institution.
Quotes by Maggie Rogers
I feel really held in being vulnerable. That's always been the kind of music that I've gravitated to as well, but to feel really supported by my audience in that is a real privilege.
This job forces you to ask yourself so many questions: Do you want money? Do you want power? Do you just want to be good at your craft? I don't know what I'm doing. I just want to be happy. But I know I have to keep making music.
That's why people come to live music, right? To see something go wrong, something human, something vulnerable.
The make-up and the costumes were me being scared. I needed to create a boundary between me and the audience. To project this bigger version of myself. Outwardly, it looked good, but inwardly, I began to feel horrible.
When I was little, my mum would take me to see the orchestra, tell me to close my eyes and think about the story the music was telling. I always spoke about colours. I'd talk about how purple the oboe was.
It's not like I see colours. It's just, for me, an incredibly strong association between music and colour.
I listened to birds and crickets, looking for the ways that rhythm appears most naturally in the world. I listened to the Smithsonian's field recordings of pygmy choirs from Africa.
It's funny because, based on the music I was making before, if you'd asked me who was the one gatekeeper or influencer whom I'd want to hear my music, I don't think Pharrell would be the first person I'd pick.