Delights - Delights

Delights are an unsigned four piece from Manchester. With this much promise, not for long:

Bloom

'Bloom' demonstrates an impressive real focus for a young band. There is clear recognition they have a good riff and have an expanded a melody around it with excitement levels up more often than not.

Better Place

With some Real Estate-esque guitars in play, Delights garner far more identity than on the opener. The style is laid back like Real Estate but, the high tempo remains and forges interesting new paths.  

Cascade

The vocals are, excuse the pun, a delight. Kevin Rowlands style of fragile soul comes to the fore and reignites a love of underrated 00s bands such as Cajun Dance Party and Polytechnic.

Lust

This is pleasant if nothing else. It’s a kind of indie that will bring in the teenage novice but turn away a seasoned record collector. At the start of a bands journey though, this cannot be held against them.

Delights, an album by Delights on Spotify

Get Cape Wear Cape Fly - Young Adult

Four years ago, Get Cape bid an emotional farewell to the moniker at the Forum. It was a celebration of all that was great about teenage escapism. The intervening years saw three albums released, two under his own name Sam Duckworth, and the other, ‘Baby Boomers 2’, a classic released under the name Recreations.

So, why the return? Why now? In short, Duckworth left London and returned to his native Southend. Sonically and lyrically, this album feels like Duckworth has come full circle from his debut ‘The Chronicles of Bohemian Teenager’ but, with sterner sense of wisdom only your thirties can bring.

Album opener ‘Adults’, closes with the spritely guitars and euphoric brass of the debut but lyrically, it’s a far more complex. Duckworth, wiser, can see through the political discourse around him but, like so many, is alienated by it all simultaneously. Amidst the confusion though, hope remains which is the true essence of Get Cape right?

The return to Essex takes a stark turn on ‘Man2Man’. A county where Thatcherism still reigns, this song details the cynicism and hypocrisy of the viewpoint. So often, social comment comes in the form of punk rock polemic. Here though, it’s within great melody, angelic backing vocals and a soaring urgency.

The Get Cape journey home isn’t always so clear-cut. ‘Always’ treads murkier paths of personal cataclysm. Meanwhile, ‘Scrapbook’ questions whether the teenage dreams have faded or the lack of freedom as an adulthood has taken its toll. Even in the darker moments, there is a sense of solidarity which breeds light and courage to up off the canvas.

‘Adults’ is not free flowing rock n roll music so, phrases like return of the King are unlikely to come Duckworth’s way. It is hard to view it in any other way. It’s a clarion call to all who have been forced out of city centres the world over that great art can come from anywhere.

It also highlights a remarkable clarity in song writing. There isn’t a track here which, if you took away the vocals, wouldn’t leave you thinking its anything other than a Get Cape song. The acoustic guitars, warming brass and intricate electronic production have and continue to serve him well. Make no mistakes though, this is no nostalgia trip.

Kevin Pearce - So On

The Essex based folk artist returned in late 2017 to deliver his second solo album, ‘So On’. It’s an album of great contrast, often bringing a lightness of touch to dark themes such as mental health and greed.

‘Lucifer the Landlord’ opens the album and immediately begs the question, has short termism ever been portrayed better, musically speaking. It’s one thing to call someone the devil but, to back it up sonically and with great imagery is another. It’s conscientious but never pious, as a result, it feels like poetry more than social comment which it most definitely is. So often, songwriters are in one of the two camps, Pearce has forced himself into an elite Venn diagram on this opener.

Former single ‘Heartbeat Mind’ is a slow building affair, with Pearce singing over the top a disconsolate heartbeat drum loop for most of it. Like Leonard Cohen’s ‘You Want It Darker’, it has the ability to sound warming and otherworldly simultaneously.  

Vocally, Pearce has often been compared to Turin Brakes’ Olly Knights. Here though, Pearce adopts a smokier similar to the Reverend John McClure. This allows Rebecca Hammond to sprinkle a lightness on the backing vocals, which, immediately prior to the songs euphoric conclusion are nothing short of beautiful.

‘Oh Maria’, an ode to the Greek opera singer Maria Callas. Callas was a formidable but flawed talent who suffered greatly. Pearce conjures a sense of loss and longing of ‘what might have been’ and ‘yesteryear’ akin to a lonely storm swept coastal town.

Amid the ethereal folk lies a moment of Cat Stevens pop heaven. ‘Plastic Man’ is a like a lost treasure from the ‘Tea For Tillerman’ era. The infectious bass line and guitar riffs have an opulent effect which allow for an almost T-Rex-esque chorus to flourish.

‘So On’ is an album of varying late night atmospheres. One person’s relaxation here will be another’s soul searching. The ability to be all things to all people which are destined to make this a classic. It’s an album of John Martyn’s ambition, the innocence of Nick Drake and the lyricism of Leonard Cohen. Take a bow!

The Wholls - The Wholls

“I want to meet the people who can take it all away”

Live, the Bedford four piece certainly channel a level of danger decreed above on album opener 'Perfect Waste of Time'. It's a difficult task but, can they repeat it on their self-titled debut album?

In short, yes and no! 'Angry Faces' will enthuse Slaves fans but, ultimately, it’s not got the killer hooks of their peers. 'The Only One' has that sound of forced debauchery. It’s not unauthentic, but, it does lack a sense of realness to truly connect.

However, when the shackles are off, real promise starts to shimmer. Former single, 'X21', is one of those alt-pop tunes which could easily soundtrack a summer. ‘Roll Out’ combines pop music sensibilities with the wild poetic side that front man Arturo Cocchiarella portrays live so well.

Arturo's brother, Santino, should be lauded for his consistent high level of big riffs. With the right producer, the magic of QOSTA and Wolfmother seems destined to be repeated. 'Going Down', is his most complete work on the album. The big, but poppy riffs combine with far reaching ethereal guitar parts which lift the Wholls onto a higher plane

At its best, this album is dark, unhinged and full of menacing bluesy rock n roll. At its worst, it walks the line of latter day Kings of Leon. Despite this, The Wholls are a band to track in 2018, the promise far outweighs the negatives.

Average Sex - Ice Cream

Supporting legends like The Charlatans in December is peppered with problems. The whiff of nostalgia loomed for the TT Christmas party. Nevertheless, we went home talking solely abut Average Sex (ahem).

Let’s check out their new EP ‘Ice Cream’:

Ugly Strangers

“We have no jobs and no money” so, what to do then? Make undeniable pop music? Done! Despite this song being about mental health issues and overdoing it, the melodies are so great, it inevitably brings great nights out to mind. The solo alone is enough to make you think of carefree youthfulness and being in love.

To twist a darkness to the light like this is remarkable. Superstars are born!

We’re Done

What a break up song, and more to the point, what a chorus!

“You act like I’m the crazy one / Since I slashed your tyres / And you won’t return my texts / Since I set your dog on fire”

Has obscene break up violence ever been so joyous and melodic? Images of packed arenas bouncing immediately come to the fore.

Hey Boy

Vivian Girls and Veronica Falls have walked the line of surf rock and The Ramones in recent years, but, never to this quality. Singer Laetitia Bocquet packs that knockout punch in her delivery and the solo is one you never want to end!

Ice Cream

If you thought their pop sensibilities couldn’t get any better, think again. The ‘oh oh oh’s’ are so infectious that they might be fatal.

Liam Gallagher: Ally Pally, London

Ally Pally, last week, was ventured to with a big sense of trepidation to see the immortal one, Liam Gallagher. The last Beady Eye gig at Brixton was only 3 quarters full, the stardust was fading. So, would this be a giant karaoke set? Will he be killing the memories of youth culture at its finest?

Fears were not put to bed on arrival. Ally Pally acts more as a wankers paradise than a gig venue. More people were queuing for a 15 quid burger than a pint. Then there was the support acts, Kyle Falconer, once great in The View delivered a bland set. Was this an omen? As for Rat Boy, give it up, just become a Jamie T tribute act, least then they can play some good tunes.

However, 'Fuckin' In The Bushes' drops, and there he is. This last great colossus front man. Enigmatic, angry, and disdaining of what he purveys. As “I live my in the city” leaves his lips all reservations float away. Yes, these are Noel’s songs, but without Liam, Noel would be still be polishing Clint Boon’s organ.

The opening pace is relentless, like Roy Keane tearing lumps out of Alfie Inge Haaland in his pomp. As a result, 'Paper Crown' becomes a welcome break. As do all the ballads of his new album. If there was a ‘mic drop, exit stage left’ moment, it was ‘For What It’s Worth’. The apologetic and defiant ode to brother Noel unites this packed crowd in a way that, previously only his brother could.

‘Rockin’ Chair’ was the only time Noel was missed, as the acoustic solo was butchered. Nevertheless, as soon Liam steps to the mic, the Lydon via Lennon vocal makes this blip irrelevant. No matter the song, no matter the writer, this crowd is one big Jager bomb boshing, bank card scratching party.

As you were!

Wolf Alice - Visions of Life

For too long, it rock music has either been simplistic singles or trendy middle class nonsense. There hasn’t been a spiritual exploration combining with great pop melodies, arguably, since The Horrors’ ‘Primary Colours’. Thank god then, for Wolf Alice.

From the opening notes of ‘Heavenward’, the guitar scene begins its quest to win its integrity back. The otherworldly riffs, along with the forever stunning vocals of Ellie Rowsell walk that experimental line of early Verve. It has all the beauty of Ride’s ‘Vapour Trail’ but the fragility of Rowsell’s vocal as she says a heart breaking goodbye to a mother takes it to another level.

‘Don’t Delete The Kisses’ furthers this ascension into the curious and unknown. Rowsell combines her spiky yet angelic vocals with poetry on the most brutal of examinations of the self. As choruses go, few will unite adoring crowds with such romantic pessimism (“What if it’s not meant for me? Love”). 

Put a comforting arm round Rowsell at your peril though. This is no damsel in distress. Despite the brilliance of Sara Pascoe’s ‘Animal’, or Deborah Frances White’s ‘Guilty Feminist’ podcast, Feminism’s struggle needs more icons in the mainstream to fight archaic attitudes. Step forward the Nirvana and Sonic Youth fire breathing ‘Yuk Foo’:

“Am I a bitch to not like you anymore?
Punch me in my face, I wouldn't even fight you no more

Cause you bore me
You bore me to death, well deplore me
No, I don't give a shit”

Like all great records, there are nuggets of pop gold lurking. ‘Beautifully Unconventional’ screams hit single, ‘Yuk Foo’ has the potency of the Pixies’ ‘Debaser’ and ‘Space & Time’ feels like a Sub Pop classic from the early 90s.

It’s on ‘Planet Hunter’ that this album is best encapsulated. Lyrically, a darkness looms as Rowsell reaches for reason and closure on a break up that seemingly, is never coming. The guitars switch up from jingle jangle to rock behemoth in an instant and create the sense of destruction within the protagonist’s persona impeccably. Conceptually, nothing is new, but, it’s the authenticity of delivery which is so striking. The raw emotion tangible and the ambition to channel this through varying styles is laudable. 

The album closes with its title track, and leaves you with the ultimate example of why Wolf Alice have to matter in 2017. There are Nick McCabe guitar jams, Jimmy Page riffs, Sandy Denny vocals, Poly Styrene vocals, pagan-esque folk parts and punk rock. Their artistic bravery knows no bounds and in a world of ‘play it safe’ types, is a remarkable thing.

The Spitfires - Chinnerys, Southend

All too often, The Spitfires are written off as just another Jam revivalist band. Anyone in Southend last Friday surely has to dispute this, loudly!

They are band steeped in the English greats such as The Jam, Specials, Billy Bragg, and Madness. Sometimes, The Jam comparisons shine a little too bright but, with this much melody and passion, they seem destined to outrun this tag. 

This is particularly pertinent on ‘4am’. This earnest tale of abusive landlords stops Chinnerys dead in its tracks. Social comment is always a plus point in the alternative music community but, this poetic, and with this much integrity, a rare thing indeed.

Former singles ‘So Long’ and ‘Move On’ go down well. The Clash via The Beat inspired ‘Move On’ has the Southend faithful skanking whilst ‘So Long’, reminds us all of when The Ordinary Boys first emerged and were not fame hungry whores.

Whilst we have all be lauding Liam Gallagher’s new found confessional song writing style (and rightly so), The Spitfires, Sullivan in particular, nail this one epic song. ‘Spoke To Soon’ recounts a tale of degradation and personal failure towards a loved one whilst all around it, is a swirling Who via Arcade Fire epic.

With new material on the horizon, watch out as this has to be their breakthrough year.

Liam Gallagher - As You Were

“Gonna take you off my list of to do’s / Gonna sing my soul / Shake of these blues”

The opening lines of ‘Bold’, says all you need to know about Liam Gallagher’s comeback. It’s confessional, heartfelt and, to quote the god like Alan Partridge, Liam has “bounced back”.

Anyone who lived through the 90s will have been worried by Liam’s solo album. He embodied so much that was great in the epoch, another lacklustre effort would render him redundant cultural capital.

As the album kicks off with ‘Wall of Glass, the alarm bells ring. It’s that faux chaos comeback single that plagued Oasis for so long (‘Hindu Times’, ‘Lyla’ and ‘Shock of the Lightning’). However, from ‘Bold’ onwards, a remarkable, almost psychoanalytic approach to his character is explored.

Most striking in this respect is ‘For What It’s Worth’. An apologetic ode to brother Noel set to Oasis via ‘Let It Be’ strings was always grabbing headlines. It’s the honesty that shines brightest though. Calling his brother out on his calculated media persona to accept his apology and get the Oasis juggernaut back on the road is a story that writes itself.

The lyrical directness befits Liam’s vocals far better than the hazy psyche of latter day Oasis and Beady Eye. Whether it’s Lennon via Lydon snarl on the bluesy rock n roll ‘Greedy Soul’ or the angelic ‘Paper Crown’, Gallagher’s confessional style has the effect of healing wounds and defying the odds far more than “Gold and silver and sunshine is rising up / Pour yourself another cup of Lady Grey”.

This is yet again exemplified on ‘You Better Run’. An attack on bands and artists who are just happy to be at the party. Liam reminds everyone that being an outsider is something that you live and breathe. It’s not for Chris Martin to write fair trade on his hands. It’s not for James Bay to put on a hat. It’s not for Ed Sheeran to pick up a guitar. It's not for Radio X to have an all male line up. It’s not for Pitchfork to wank themselves silly over an obscure German industrial influence on a Radiohead album and then slate Liam for being inspired by T-Rex.  

When the ‘Supersonic’ documentary came out, it felt the perfect end point for all things Oasis. It encapsulated everything that youth culture and youth culture could achieve. Like a Smiths reunion, it would detract from the power of being young and dampen their greatness. But, when Liam sings “Let's leave the past behind with all our sorrows / I'll build a bridge between us and I'll swallow my pride”, the emotional side of any Oasis fan will find it tough to argue.

Theatre Royal - Locked Together On The Lines

Objectivity is a great thing but, fuck that, this is the single of the year! We knew it as soon as their album ‘And Then It Fell Out Of My Head…’ came out in March this year.

This is a true story of front man Oliver’s Nan discovering two dead bodies Chatham’s war memorial. One a sailor, and the prostitute, they lay “locked” as one may well imagine.

Vocally and lyrically, the human touch shines through on this tragic tale. The second verse opens with ‘a silent face / ', such bleakness has not been shrouded in pop majesty since The La’s ‘There She Goes’.

The blending of such grey English characters and landscapes with the colourful paisley guitar playing and indie harmonies is joyous and should be celebrated across the land. 

The double A-sdie also includes ‘All I Need’. A short emotive blast of English pop music. Fronted by guitarist Robert, this luscious romantic ode is further proof that intelligent pop music must have its place in the mainstream.

Iridesce – Carved In Stone

The Camden outfit just go from strength to strength. ‘Carved In Stone’ has adopted emotive melodies of Editors, Chapel Club, and The National and channelled them through a beacon of togetherness.

So many people are turned away from the term Britpop. Yes, it had some ugly sides, what scene doesn’t. Ultimately, it was a period where earnest song writing brought working class people together. Iridesce clearly have that spirit on this showing.

It’s not for the chin strokers of the world, this a song to immerse yourself in. Let the soaring vocals and guitars wash over you like a cleansing power shower on the worst of hangovers.

BRMC – Little Thing Gone Wild

Last time out, BRMC were, by their high standards, coasting with their album ‘Specter a the Feast’. This return single though, sees them at their dank and furious best.

As the drums thud in the intro, Hayes and Levon-Been vocally stride back into ‘cool as fuck’ territory. Their deep, Jim Reid via Ian McCulloch drone screams sex and throbs danger which, combining with the blustering guitars is a heavenly match.

Genre wise, they’ve not strayed from dirty garage rock sound but, when it’s delivered with such pulsating urgency, it’s impossible to be critical.

Shed Seven – Room In My House

“There’s room in my house for love and affection”

As there is in the hearts of thousands of Sheds fans rapidly selling out their biggest ever UK tour. Bigger news than this though, they’re back with new material for the first time since 2001’s overlooked ‘Truth Be Told’.

So, does their new single bring a mature jazz enthused sound ready for coffee shops? God no! Thankfully, it bristles with the swagger of their 1996 album ‘Maximum High’. Middle age has brought a rich depth to their archetypal sound though. The influence of soul via the thunderous guitars of Stone Roses’ ‘Second Coming’ rips its way through this banger.

Quite where they found these guitar parts and solos from in middle age we’re not sure. Fuelled by youthful angst, escapism, and a sense of utter debauched chaos, this is the soundtrack to all sticky floored indie night clubs this weekend!

So often with older bands, they explore the niche avenues of their influences to keep themselves amused, meanwhile, the sales dip and live crowds bugger go for a piss and leave disgruntled muso’s behind them. Shed Seven however, are firm proof that, if the magic dries up, leave the song writing alone until it returns. If this single is anything to go by, the album is likely to be of their highest quality, much like Martin Rossiter’s (Gene) ‘Destination of St Martin’ in 2012.

Matt Edible & The Obtuse Angles - Jumping Houses

Hull’s cult hero Matt Edible is back, and yet again, provides challenging pop music for the alternative community.

This ballad, meanders from psychedelic synths to languid vocals like a glorious drunk walk home in the wee hours. Edible’s vocals have always had a touch of James Dean Bradfield about them but, here, his caution to the wind attitude witnesses a departure from that traditional delivery.

Despite the ethereal production and adventurous guitars, Edible still embeds great melody and pop sensibilities into this short epic. It appears nigh on impossible for experimental yet poppy efforts like this to garner recognition nowadays, but, this should only fuel your love it more. Cherish it like the best mate your parents have never been sure of.

Apeman Spaceman at Old Blue Last, London

“A work in progress” decrees frontman Johnny Cooke at the end of the night. If he is right, then spectacular things loom for the London four piece.

Whilst their status as a band is relatively new, the heavyweight experience from Dogs and Razorlight is obvious. They know what works and waste no time flaunting their brilliance. ‘Have Not Love’ and ‘Spacecatraz’ stomp their way into a pack Old Blue Last’s hearts and minds their abrasive and infectious post-punks riffs.

Amidst the poetic degradation and fury, a nugget of pop gold, ‘Birthdays’. Cooke’s delivery is worthy of the paisley and c86 scene of the 80s. Whilst the melodic vocal shimmers, the guitars build to anthem levels as if it’s the most natural thing in the world.

Closing the set is the “bipolar express” ‘War’. Whoever wants more from a last song is one greedy cunt. Frenetic, poetic, and anthemic, it’s a drunken singalong triumph. Radio airwaves have to take notice of Apeman Spaceman, and fast!

Daniel Wylie's Cosmic Rough Riders - Scenery For Dreamers

Daniel Wylie may be 58 but, his soul remains as carefree and poetic as any teenager yearning for escape. ‘Scenery For Dreamers’ is Wylie’s 8th studio album and is littered with sun drenched avenues to explore and fall in love with.

You could be forgiven for thinking opener, ‘Rope (Everybody Lies)’, was a breezy pop song with its infectious ‘ba ba ba ba’s’ and, musically it is. Lyrically though, darkness prevails as the protagonist kids himself to cope with depression.

The ‘ba ba ba ba’s’ in question, act as a magical defiance and keep a lust for life motoring. Encased in 70s Californian rock n roll guitars, and with the line ‘could have gone under but dragged myself up’, it’s hard to view this as anything but heroic.

Wylie’s vocals have always been infectious but, on ‘Lucky Find’, they reach new peaks. The ‘Cortez The Killer’ opening mushrooms into pop nirvana as Wylie channels his inner Steely Dan and Brian Wilson to absolute perfection.

Negating its way through most of the album are the guitars of the Neil Young circa ‘Rust Never Sleeps’ and Scottish peers Teenage Fanclub. ‘Cold Alaska’, has In its opening and in the solo, the raucous nature of Young on his 1979 classic. Whereas, the verses have the freeness of the open road that the Fanclub made so prominent on ‘Bandwagonesque’.

‘Jingle Jangle Morning’ is beset with emotion and fragility of ‘The Concept’ but, simultaneously, is laden with the pop sensibilities of Young’s ‘Sail Away’ and the fuzzy drama of ‘Powderfinger’. When the two influences combine, its as though life affirming victory looms at every junction.

Wylie’s career, for too long has gone under the radar. It would appear, as he goes beyond his mid-point in life, the pop tunes are pouring out of him. Might this be the time for the masses he so richly deserves to come a flocking?  

GospelbeacH - Another Summer of Love

GospelbeacH’s second album ‘Another Sumner of Love’, does exactly what it says on the tin. Revelling in the rootsy bliss of California, the sounds of The Byrds and Gram Parsons flourish in this sun kissed offering.

Opener, ‘In The Desert’, superbly references The Jam, delivers the thoughtful harmonies of The Byrds and Love. Immersed in love and hope, it rekindles the spirit of ’67 as it effortlessly traverses hazy American landscapes.

The album strays into 70s rock n roll on ‘California Fantasy’ and ‘Kathleen’. The melodies are undeniable, but, as ever with this period, it sounds far too trad.

Nevertheless, their ability to switch up through all things sun drenched is remarkable and, on ‘You’re Already Home’, they nail the blend of the 60s hope and the 70s sense of fun. It’s has the sprightliness of The Byrd’s ‘I Am Pilgrim’ and Canned Heat’s ‘Going Up The Country’, fine company indeed!

Ulrika Spacek – Modern English Decoration

The London five piece waited only 16months to get their follow up to ‘The Album Paranoia’ released. When you’re hot, you’re hot! ‘Modern English Decoration’ comes out amidst so many hazy garage-psyche albums. What chance do they have of getting their heads above the rest?

The combination of Unknown Mortal Orchestra’s Ruban Nielson vocals and vulnerable psyche-guitars on opener ‘Mimi Pretend’ and title track ‘Modern English Decoration’ gives them every chance. The fragility of their sublime playing is destined to take listeners along with them.

The ability they have to weave in and out of each other’s playing is laudable. However, as ever with bands of this ilk, it becomes a bit one paced. There is an injection of fire on ‘Ziggy’ and ‘Everything, All of the Time’ but, there’s an overarching sense of ‘does this matter’. With their talent, of course it does.

On ‘Saw A Habit Forming’ and ‘Victorian Acid’, there are signs that they infiltrate more people’s consciousness. The former is entrenched with highly emotive production and ‘Victorian Acid’, takes MVB’s ‘Loveless’ style and, tentatively, takes it towards a guitar hook territory.

‘Modern English Decoration’ is going to grace to a lot of top 10 album polls come the end of the year, no question. What it won’t do, is challenge any top 10 albums of the decade and this is a band who, most certainly can.

Tom Williams - All Change

Tom Williams has never lacked great pop melodies or uniqueness of voice. His first two albums are the Magna Carta for teenage boys and insular angst but now, on his 4th album ‘All Change’, his themes are broader and the depth of musicality is richer. Does it pay off?

Album opener, ‘Everyone Needs a Home’, strongly suggests that it might have. The sweeping orchestra borders on deranged at times, couple this with his brooding vocals and memories of Radiohead’s expansive pop songs will come to the fore. It’s also, the first if many great jibes at little Englanders.

On several occasions, the genius Ryan Adams form the essence of Williams’ work. ‘What a Shame’ is laced with regret and debauchery (“only whiskey has me sleeping right”) whilst ‘Sometimes’ delves into the worst aspects of Williams’ persona:

“I’m a coward / and you know it / always running from a fight”

‘Get High’ is the finest example of Adams’ soaring melancholy. The beautiful backing vocals juxtaposed with dark cloud of self-doubt is of the utmost quality. What really takes ‘Get High’ to another level are the swooning guitars. Williams uses them to traverse a flawed character to the cliff edge and, like in 'Inception', leaves you shrouded in uncertainty to the outcome.

Williams turns to Bruce Springsteen and Belle & Sebastian’s ‘The Boy With The Arab Strap’ on ‘Higher Place’ to lift the mood. Its combination of escapism and frustration delves further into that losing feeling many of the 48% have been left with:

“All my daydreams upped and ran away / so I guess I’ll think about real life for a change / one day im going to lift us up to a higher place”

‘Sleep Tight Saturday Night’, thankfully, goes further than this polemic. Williams hilariously flips the ‘take back control’ argument to the true downtrodden folk of his home in Hastings, rather than debt free straight white men with a mortgage:

“Have you seen this town lately / it’s been going through some changes / people here have been kept down for ages / we aint never getting out”

History has always proven the poet can achieve far more than social comment. Nevertheless, the social commentary here is smothered such warming pop music vibes, it’s hard to picture this not reaching even those who disagree.

It’s hard to argue that, the depth of song writing sonically has not grown substantially. The quality of Ryan Adams or Bruce Springsteen is not on show often enough to catapult Williams into stardom but, there is enough for a great big shove!