When Did We All Start Acting Like BRATs?

Jess Cooper on 15 November 2024

Amidst BRAT tour controversy, Jess Cooper looks at the post-pandemic concert etiquette crisis.

Brittany Broski is the wine aunt of the chronically online. Having cemented herself with an audience of ‘girls, gays and theys’, it was no surprise when she appeared on screens at the SWEAT tour this autumn, taking part in the viral Apple dance. Every show of the concert headlined by electro-pop superstars Charli XCX and Troye Sivan, the cameras normally panned to the audience, where either a celebrity or a very lucky fan would be given their chance to dance the TikTok routine to Charli’s hit song from her BRAT album. So to see one of our own get ready to take on what had become the ‘it’ moment of the show, it felt like the stars had aligned in musical heaven. But we were blissfully unaware of the carnage that would unfold.

Out of the shadows, donning a black mesh top and a sadistic grin, appears an attention-hungry fan. He shoves our beloved Brittany out of view and swaggers to the front of the group, desperate to catch the camera’s eye. The internet exploded. Countless social media users were quick to call the concert goer out on his blatant disrespect and rudeness. For many, the issue was not that he wanted to be on camera; it was that he seemingly had no care for his fellow fans. In the grand scheme of fan behaviours, it truly could be worse, but this viral moment has highlighted a wider problem in live music: nobody knows how to behave anymore.

To play devil’s advocate, fans did head to the SWEAT tour with the expectation of the show being an ever-expanding, theatrical nightclub where your favourite dance-fuelled artists come to life. Therefore, behaviours like this (whilst unpleasant) are somewhat more acceptable at a concert which is mimicking drunken nights out and stumbling into the smoking area. The problem is this has not just been happening at the SWEAT tour. Instead, this interaction highlights an underlying attitude problem that has been plaguing live music for a while now. Last June, Bebe Rexha was left with stitches after a concert goer threw a phone at her face mid-show and was charged with assault. He claimed he thought ‘it would be funny’. Ava Max in that same month was slapped onstage by a fan so hard that the inside of her eye was scratched. That is not even mentioning the countless videos circulating social media of supposed ‘fans’ rushing the stage at Travis Scott, Taylor Swift, Nicki Minaj and so many others’ shows. When did it become so acceptable to be so unruly at our favourite artist’s shows?

One reason explains our friend over at the Los Angeles’ BRAT behaviour, which is the desire to go viral on TikTok, Twitter, Instagram or whatever poison you pick nowadays. Perhaps he was unaware he was pushing an internet sensation who got her start as the meme ‘Kombucha Girl’, or maybe he knew exactly that he would be disrupting an entire fanbase through a simple shove. Regardless of whether he knew, it is undeniably true that the rise in antisocial attitudes in such public spaces, especially where so many people are capturing the moment through photos and videos, is to draw attention away from whatever is happening onstage by behaving so outlandishly. It clearly worked for this poor man, though it might have been for the worse.

Another explanation could be the impacts of the pandemic and lockdown, which robbed a generation of music fans of that inaugural first concert or festival experience. Instead, they’ve now grown up and are muddling through concert etiquette for the first time, often getting it wrong in the process. It isn’t just young people either; looking at the wider entertainment industry, patrons were notoriously removed from performances of The Bodyguard on the West End last April for singing ‘loudly and badly’ over the actors. Industry professionals are still, even three years after performance venues opened fully post coronavirus, pinning this poor behaviour on the lockdown. People simply forgot what it was to be in a theatre or in a stadium and have to respect others around them.

Unfortunately for music lovers and concert chasers, it doesn’t seem like these attitudes are coming to an end anytime soon. Swifties have been dubbed chaotic and narcissistic at Eras Tour performance across the States and Europe, screaming and sobbing profusely over the music. At performances for indie rock singer Mitski this year, fans were blurting out inappropriate sayings in the middle of quite an emotional set of songs (at one show, she allegedly stopped the entire performance). Maybe we should just take note from the metal heads, who seem to be the most respectful of all. Brittany Broski might have been safer at a Judas Priest show.

Words by Jess Cooper

Live At Leeds in the City: Ones to Watch 

Daniel Brown on 14 November 2024

Dan Brown breaks down the best acts to see this weekend at Live At Leeds in the city 2024!

It’s that time of year again, Live at Leeds in the City has rolled around and the talent on show is bountiful. 150+ acts, 17 venues and 1 tremendous day of music, it’s almost too much for the weary travelling gig enthusiast. If only there was an amateur journalist to highlight the hottest acts around Leeds come November 16th…

The Royston Club

In my self-deprecating quarrels with my mirror over my blaring lack of coolness I often bump up against the tattoolessness nature of my skin. This is out of fear of me changing tastes quicker than I am kicked off of the aux at pre-drinks (what do you mean you don’t want to hear never-ending Strokes tunes before we go to a disco club?). Nevertheless, if there was a tattoo that I could get without fear it would be one across my forehead that says, “See The Royston Club at Live at Leeds in the City 2024!” – you will thank me (and my forever branded forehead) later.

Song Recommendation: ‘I’m a Liar’

LaL Set: 19:45-20:45 – Stylus

English Teacher  

Fresh off winning the 2024 Mercury Prize, English Teacher are set for a mega homecoming. Surrealist post-punk anthems held up by a prideful hometown crowd; English Teacher’s early evening set is the place to be. Lessons will be learned in the pit.  

Song recommendation: ‘R&B’

LaL Set: 18:45-19:30 – Leeds Beckett Student Union

Overpass

If there’s two things in this world I love from Birmingham, it’s Jude Bellingham circa the 95th minute of England vs Slovakia in the 2024 euros, and indie-rock four-piece Overpass (apologies to my two Birmingham born housemates who did not quite make the cut). Magic guitar riffs and stellar lead vocals. Overpass are the full package.

Song recommendation: ‘Beautiful’

LaL Set: 16:00-16:45 – Stylus

Balancing Act

An alternative title for this article with the sheer amount of talent to juggle seeing at this festival. If you plan to stay cityside and minimise your running throughout the day, it would be a crime not to catch Balancing Act at The Wardrobe. Hot on the heels of their latest EP Tightropes and Limericks (2024), their electric sound will win you over quicker than you can say “I’m not trekking all the way to Brudenell”.

Song recommendation: ‘She Plays The Theremin’

LaL Set: 17:15-17:45 – The Wardrobe

Swim School 

It’s times like these that I’m glad my artistic medium is the written word, otherwise when describing Edinburgh’s Swim School I would undoubtedly attempt a very poor and more than likely offensive Scottish accent. Fortunately, I am saved from myself and am free to tell you that the emphatic rock three-piece is bound to give a top-tier performance filled with passion, prowess and poise.  

Song recommendation: ‘Seeing it now’

Lal Set: 20:00-20:45 – The Key Club

Basht

Yes, I don’t expect you to have heard of them. No, I don’t think I’m cool and different for knowing them. Double yes – you should see them before word of their existence gets out. With only 10k monthly listeners, it’s only a matter of time before the supremely talented Basht are playing their grungier indie guitar gigs on the big stage.

Song recommendation: ‘Gone Girl’

LaL set: 19:30-20:00 – Leeds Beckett Student Union

Soft Launch

With a lovely 1pm set at key club, fresh new band on the scene Soft Launch is the perfect way to ease into the city and soft launch your day at Live at Leeds (get it… cause that’s their na- never mind).

Song recommendation: ‘In My Bed’

LaL Set: 13:00-13:30 – The Key Club

Esmerelda Road

Not everyone can support Liam Gallagher and win over a crowd (see my previous Inhaler article and subsequent slagging off of Liam’s sons band Villanelle) but that’s exactly what new saxophone-infused Irish indie band Esmerelda Road did this summer. Powerful is one word that comes to mind from their music. Don’t believe me? Go and see for yourself.

Song recommendation: ‘I Think’

LaL Set: 16:00-16:30 – Hyde Park Book Club

Eszter Vida

The true sleeper pick of the whole festival, Eszter Vida is bringing her ethereal sounds to The Doghouse. If I wasn’t a penniless psychology student and investing in artists wasn’t just a metaphorical term, I’d buy 100 shares in Eszter Vida’s sound. Alas, the only thing I have that is worth its weight in gold are my words, which encourage – no, urge – you to catch Eszter Vida this November.

Song recommendation: ‘Sour’

LaL Set: 19:00-19:30 – Doghouse Bar & Bagel Shop

Big Sleep

Never has a band been so improperly named. Big Sleep are anything but a bore and being another band who have a full new release of songs added to their arsenal with their fantastic latest EP Stay Put Sunshine (2024), the Dublin quartet is bound to set Brudenell alight.

Song recommendation: ‘Two Cents’

LaL Set: 14:30-15:00 – Brudenell Social Club

L’objectif

If the chic style of Belgrave is more your speed, homegrown L’objectif are a midday must on your schedule. The ferocious post-punk tunes from a hungry young band have formed the basis of a top-notch live set. Pair that with the stylistic Belgrave setting and you’re in for one hell of a show that epitomises what the Leeds music scene is all about.

Song recommendation: ‘Feeling down’

Lal Set: 15:00-15:30 – Belgrave Music Hall

Lime Garden

My pick to end the night, Lime Garden are a brilliant blend of indiepop, disco and surf melodies along with lyrical mastery. On top of this there’s the bonus of them performing at the Wardrobe, ending just 15 minutes before the Live at Leeds afterparty at the same venue. Hear some wonderful music and then dance the night away, what more could you want?

Song recommendation: ‘Pop Star’

LaL set: 21:45-22:45 – The Wardrobe

Tickets still available for students at discounted price here!

Who decides what I wear?

Christelle Al Abbasi on 13 November 2024

Fashion is all about finding the balance between expressing who we are and fitting in with what’s around us. Christelle explains It’s about crafting a style that’s uniquely ours while navigating the influence of trends and others.

Album Review: Fontaines D.C.’s Romance

Madeleine Royle-Toone on 10 November 2024

Vibrant, eclectic and transportive, Fontaines D.C.’s fourth studio album Romance is a feat not only of music, but of worldbuilding. The record transcends their Irish rock past with a futuristic, cyber-punk sound, an aesthetic that takes it from a musical LP to an entire creative landscape – complete with artwork, cinematography and a wacky makeover to match.

‘Neon and ridiculous’ is how frontman Grian Chatten describes their new feel, and it’s true, you can’t miss them these days; guitarist Carlos O’Connell proudly sports a fluorescent pink and green hairdo, unrecognisable from the run-of-the-mill indie boys of first album Dogrel (2019). And this was exactly their intention. They’ve changed record labels (XL Recordings in place of Partisan), producers (picking up industry legend James Ford) and crafted a whole new look. In an interview with NME, Chatten talks about wanting to ‘render the audience sensitive’ to the band’s vision, an artistic instruction that requires engagement on all sensory levels. This meant taking inspiration from a plethora of abstract sources; The Cure, Japanese Manga classic Akira, the pearly-gates-macabre of America’s West Coast, James Joyce’s Ulysses, and ‘pigeons taking flight at dawn’, are just a few of the influences Chatten has accredited in interview. It’s ‘like playing a character’, he explains, looking to The Cure’s Robert Smith as an example of how eccentricity and weirdness elevates music beyond the studio. I agree, there’s something Bowie-esque in the way the band transforms onstage, leaving the smoke filled, industrial arenas of the UK for the technicolour, comic-strip playground of the album.

Romance’s first and titular track is moody and theatrical, repeating the line ‘maybe romance is a place’, an invitation into the album’s dystopian soundscape. We’re then taken on a journey, meandering between fast paced rocky tunes like ‘Bug’ and ‘Here’s The Thing’ to the more lowkey and intimate sound of shoegaze-y ‘Sundowner’ or ‘Motorcycle Boy’. Thematically, the album is dichotomous: bold and nihilistic with the emotional vulnerability of its rose-tinted title. The two most popular songs off the record, ‘Starburster’ and ‘Favourite’, released as singles during the spring of 2024 and generating buzz for the album drop, epitomise this duality. Where ‘Starburster’ is dramatic and moody, a verbal rampage over a thrilling bassline, ‘Favourite’ is achingly genuine, the brightest tune on the album, if not that I’ve ever heard. With a hint of The Cure again in its guitar riff straight out of ‘Just like Heaven’, the album’s final track is gorgeous, brimming with sunshine, generosity and summer evenings. 

For Chatten however, his biggest pride is undoubtedly in ‘In the Modern World’, conceding that ‘I always wanted to write that song but never knew how… a song that sounded like Lana Del Rey could maybe sing on it, you know?’. Whilst not my ‘Favourite’ (Ha-Ha) off the album, the song is an artistic masterpiece – hazy, existential, and full of that apocalyptic delusion that permeates the record.

Grian Chatten is teeming with poetry. He expresses himself – both in song and in interview – with a delicacy that demands attention for the matter-at hand. For Fontaines, this poeticism is combined with simple, abrasive lyrics (‘Shit shit shit’ goes the chorus of ‘Death Kink’) to give the band their appeal: saying really clever things, in a really cool way. The textured, cascading lyricism throughout Romance reminds me of fellow musician-cum-poet Adrienne Lenker (of Big Thief); a resemblance that makes his goal of publishing a poetry book tangible and exciting, rather than another glory quest by a celebrity that should have stuck to their day-job. In interview, Chatten is dry and sarcastic, joking about his own brilliance in a mockery of the rock-n-roll frontman. There is a comic irony to this, as he is often the lone member interviewed, with O’Connell, Curley, Deegan and Coll taking a more low-key role in the band’s PR. However, as he lapses back into a monologue about the desire to maintain creatively esoteric, and ‘humbly’ admits that writing is like stretching the legs, I do find myself enchanted by him. It might just be the fangirl in me, but I find there is a real poignancy to Grian Chatten’s voice, a truthful self-awareness, that albeit pretentious at times (but what rockstar isn’t?), could make him the voice of a generation.

Despite their willingness to trade in popularity for creativity on Romance, Fontaines D.C. have never seen more success, doubling the first-week sales of their third album Skinty Fia (2022) and debuting at #2 on the UK Charts. The band are currently on an almost sold-out global tour, complete with Finsbury Park, a Primavera headline, and most notably, a night at Leeds’s First Direct (3rd December, if you’re interested.)

Words by Madeleine Royle-Toone

He is a Wild God: Nick Cave and The Bad Seeds in concert

Arabella Wright on 10 November 2024

Hands grasping for the air, surging forward. The crowd is a sea of people cascading in waves as they reach for the figure on stage, dressed to the nines in a suit and tie. He jumps and runs, sings and dances. A microphone is thrown and retrieved while a piano is played and abandoned. Nick Cave is a spectacle, and The Bad Seeds are an entity. Together, they provide a performance that is a spiritual celebration of friendship, love and loss. 

I don’t think I ever truly understood Cave’s music until I saw him live. Whilst his songs have been interwoven into my life for years through TV, film, and as part of my father’s record collection, I had never really seen the cathartic quality of his songwriting until he was standing on stage in front of me. His ballads carry an emotional transcendence unlike no other modern songwriter, delicately enhancing themes of sorrow and pain and pairing them with melancholic melodies and beautiful musicianship. 

The album from which this tour gains its name, Wild God (2024), was originally conceived as an ode to joy, yet its themes are as haunted by grief as they are healing. Cave’s personal tragedies are at the forefront of this piece of work, as within the space of only seven years, two of his sons tragically lost their lives. His lyricism, therefore, bears the weight of these profound losses with a raw intensity, and songs like ‘Joy’ and ‘Cinnamon Horses’ explore these ideas directly. The crowd stood silently as he sang with glassy eyes, “Cause love asks for nothing, but love costs everything”. Earlier in the show, he introduced their 2004 single ‘O Children’ as a song “about an inability to protect our children”, upon which the entire arena held their breath in reflection. Even if we can’t directly resonate with Cave’s experience, his writing is truly profound and can offer an insight into not only his personal life but the current socio-political state of the modern world. 

Whilst elements of the concert were understandably solemn, it cannot be forgotten that Cave is a performer with a stage presence like no other. It is no easy feat to hold the attention of thirteen thousand people for a gruelling two-and-a-half-hour show, guiding them through the narrative of twenty-one songs from over forty years of music. He alternated between playing the grand piano and prowling the apron of the stage that outreached into the audience, pacing up and down with an almost manic intent, grasping hands with those lucky enough to be graced by his presence. At moments, he allowed himself to be held up by those who stood below him, supported by those outreached hands, trusting strangers to carry him in moments of vulnerability. He sang with terrifying ferocity and wildness, and the people responded. Cave truly had the crowd in the palm of his hand. 

Image Credit: Bella Wright

With an honest self-awareness of his target demographic, Cave’s spoken interactions with his audience were surprisingly entertaining. He mocked the front row for being mainly “ageing gentlemen” and took a surprising liking to someone who was adorning a fake beard and wig, mimicking his long-term collaborator and bandmate, Warren Ellis, who promptly jumped on a chair at the realisation. The camaraderie between Cave and The Bad Seeds with the crowd was compelling. Chants like “Fucking Leeds!” and “Yeah, yeah, yeah!’ during the murderous blues song ‘Red Right Hand’, echoed around the curved walls of the First Direct Arena. His cult following listened and repeated every word with veracity. 

Coinciding with this idea of respect and trust between the artist and audience, for a modern concert experience, there was a surprising lack of phone screens being waved around. A couple of weeks prior, in Kraków, Poland, Cave had singled out a fan for seemingly recording his whole gig, asking people politely to “Put your fucking phones away!”. Whilst he did jokingly allow the crowd to record him posing for photos for around thirty seconds, the videos online, ironically, sparked a worldwide debate on concert etiquette. I never got to experience shows before the invention of the mobile phone, but I can see how a device being shoved in your face for an entire gig could be distracting and almost disturbing, especially when the topics you are singing about are deeply personal, and you rely on the audiences engagement with these themes to further enhance your performance. 

However, the Leeds crowd had taken notes. Whilst it could have been due to the ageing demographic of concertgoers, for much of the show, there wasn’t a phone in sight. A couple popped up here and there for videos of his most popular songs like ‘Jubilee Street’ and ‘The Mercy Seat’ before being slipped back into coats and bags. I even felt bad about using my notes app to write ideas for this piece. The atmosphere Cave and his music created through scripture-like lyricism, and the repeated blessing of grasping hands was nothing short of sacred, creating an environment where people could feel what they wanted to feel, no matter who or in what they believed. 

The ‘Wild God’ tour ended with a lone figure at the piano. The audience harmonises, almost in prayer, to the lyrics of ‘Into My Arms’, arguably the most moving love song from the evening’s escapade. When the last note was played, Cave rose and drank in the roars of the crowd that begged him to stay. Once waving goodbye to the Warren look-alike, he slowly returned to the shadows from which we had seen him enter a mere three hours previously. It was as close to a spiritual experience one can get at a concert and something all fans of music should see at least once in their lifetime.

Words by Bella Wright

Gig Review: Blossoms at Leeds O2 Academy

Poppi Andelin on 9 November 2024

Blossoms are back, this time bringing fresh sounds from their latest album Gary (2024), to venues across the UK and Ireland. For Leeds fans, the 5-man band played the O2 Academy on Friday, October 18th, filling the venue with their  signature blend of indie-pop and retro rock.  

Over the past 11 years, the Stockport-based musicians have crafted a unique  sound, taking inspiration from psychedelic 80s pop with an indie edge. Their catchy hits highlight their unique live instrumentation with band members like Myles Kellock’s keyboard flair and Tom Ogden’s iconic vocals creating a sound that’s unmistakably their own. Blossoms never fail to bring retro glam. True to form, they came to the stage in flared trousers and fitted shirts- a style that wholly sums up  their distinctive characters. Such attributes make them a fresh and unique band,  radiating nothing but energy and an uplifting atmosphere throughout the entirety of  their performance.  

After a 10 second countdown, frontman, Tom Ogden, kicked off the gig with his pot like taps, setting the beat for the opener, ‘Your Girlfriend.’ It’s a track that undeniably gets the crowd moving, and with this being only the second show of the tour, the  audience, with two-pinters in hands, were certainly in high spirits. 

With the tour celebrating the new album, and song, Gary (2024) a humorous moment in the show came from an anecdote told by Tom, who described the meaning behind it. One thing about Blossoms is that their tunes come from the  mind of a lyrical genius, and if they can create a banger from what Ogden described  as an 8 foot fibreglass gorilla named Gary that was stolen from a garden centre in Scotland, then I’m sure they can write a song about pretty much anything. The 8 foot gorilla unfortunately did not pay a visit to Leeds’ O2 Academy.  

The band did an astounding job at performing their new songs, whilst pleasing loyal fans with some old classics; taking us right back through their first 4 albums,  including their debut, Blossoms (2016). Some of those included, ‘Getaway’, ‘The Keeper’, ‘Honey Sweet,’ ‘Oh No (I think I’m in Love)’ and ‘At Most a Kiss.’ One pivotal moment included the band playing a few lines of ‘You’re Gorgeous’, whilst  seamlessly edging into the beginning lyrics of Oasis’ ‘Half the World Away’ right before the encore. Could this be a nod to Blossoms being a potential support act of the 2025 Oasis reunion tour? This wouldn’t be too much of a surprise after a major Oasis announcement was teased at the end of their Manchester gig in August. 

Two of the band’s biggest hits brought the show to a spirited close. During ‘There’s a Reason Why (I Never Returned Your Calls)’, the crowd took lead on vocals before  the song fully kicked in. Swiftly after came ‘Charlemagne’, taking fans right back to the early days and giving the night a perfectly rounded finish. 

Blossoms are undoubtedly, in my opinion, among the best live acts on the British  music scene at the moment; constantly bringing unbelievable energy to their gigs time and time again. They will continue their tour in sold-out cities including  Norwich, Cardiff, and Dublin, before wrapping up with five nights on home turf in Manchester.  

Words by Poppi Andelin

Inhaler’s Open Wide: Has the wait been long enough? 

Arabella Wright on 9 November 2024

Upon their lead single’s ‘Your House’ release, Bella Wright reflects on Inhaler’s sophomore album and what the band’s new music may have in store for fans.

“Who’s going to your house tonight?”. A text I received from an unknown number on a quiet Thursday evening, early in October. A bit forward coming from a stranger you might think, or even just plain weird. No, please don’t worry; I don’t have an online stalker. I had, however, forgotten to turn off messaging in my marketing preferences for Inhaler’s mailing list. Panic over, I’ll sleep safe tonight. 

Within the context of their new single release, ‘Your House’, this situation makes a whole lot more sense. An eclectically lit orchid stands loud and proud on the cover art, teasing their growing fan following with the promise of a new era that will likely send the indie-rock four-piece, hailing from Dublin, into global acclaim. 

Now, don’t get me wrong, I am a big fan of Inhaler’s music. A framed version of the single art from ‘These Are The Days’, the first release from their sophomore album Cuts and Bruises (2023), is balanced precariously on a light fixture in my living room, opposite a vinyl from none other than the legend Dolly Parton herself. But this upcoming album cycle had me worried. The curse of the second album has been talked about by many artists, with Tom Ogden from Blossoms recently admitting on BBC Manchester that Cool Like You (2018), their second release, was his least favourite to date. Like many bands, he found that the pressure of being in the spotlight had meant that they’d promptly rushed the making of the album to meet demand from record labels and fans alike. This commerciality, the constant need for more and more fast, is ruining the art and joy of songwriting for artists as they try to break away and grow from the experience of releasing their debut albums. 

I think you can hear this rush and panic in Cuts and Bruises (2023). The sound, whilst still brilliantly, inherently Inhaler, had lost the youthfulness and undeniable passion of their early single releases ‘We Have To Move On’ and ‘Ice Cream Sundae’, followed later by their debut album, It Won’t Always Be Like This (2021). Elijah Hewson, the band’s lead singer, frequently described in interviews how it felt as though the songs on IWABLT had grown with the band as they’d grown up as people, and this sentiment can be heard throughout through the driving riffs of ‘Cheer Up Baby’ and hauntingly beautiful vocals of ‘Strange Time To Be Alive’.  Cuts and Bruises hadn’t necessarily fallen short in any sense. It quickly peaked at the top of the Irish Albums charts and followed suit in second position in the UK. More importantly, ‘Perfect Storm’ was number one on my Spotify Wrapped last year. But as an entity, as an album, it was just missing something. Something that I can’t quite put my finger on, a feeling, but absent all the same. 

Image Credit: Chuff Media

I shouldn’t have worried though. Debuted on Jack Saunders’ New Music Show on Radio 1, ‘Your House’ is a carefully crafted anthemic mix with progressive production that creates an enhanced new sound, much more confident than their sophomore release. It feels hopeful and bright. Level-headed yet lively. Optimistic but well thought through. The addition of a choir intensifies yet complements the vocal track to foster a sense of community, whilst the synths and bass drum drive the rhythm home to the heart. Without a doubt, these guys are great musicians. Inhaler knew what they wanted, and they went and did it. The vision itself is clear. 

Creatively, you can tell they’ve had new influences. Produced by Kid Harpoon, who’s famously worked on hit songs for Maggie Rogers and Harry Styles, the much-needed refresh highlights the importance of collaboration with multiple producers across one’s music career, preventing a band’s sound from becoming stale and repetitive. Even the concept art has moved away from the cliqued group shot and generic typography. Keen photography nerds like myself will quickly recognise the work of Neil Krug, most notable for curating the album art for Tame Impala’s The Slow Rush (2020) and Lana Del Rey’s Ultraviolence (2014). Moreover, the accompanying music video is fun and a little eccentric. If you fancy watching Eli being thrown around in a briefcase whilst Robert, Josh and Ryan almost run him over, I recommend giving it a watch. The concept, the art, and the idea have been cherished, cared for and given the time it needed to develop to become eminent. 

Time. That’s what is so important. The time for ideas to breathe and for skills to grow. Time for new partnerships with new creatives to nurture and for new influences to make the desired impact. Creating a piece of art cannot and should not be rushed. I hate that consumerism puts pressure on musicians to dive into things head-first as soon as they’ve had a little success. This pattern has been seen time and time again and is highly unlikely to ever stop, with the modern need and desire to constantly stay relevant to avoid slipping through the cracks. 

But success is inevitable for those who push through, who are open to paving the way through the mess of the music industry whilst staying true to themselves. For Inhaler, success is inevitable. Open Wide, their third album, is coming in February. Let’s hope that the wait has been long enough, as I don’t know about you, but I will be eagerly awaiting its release.

Words by Bella Wright