Olivia Rodrigo’s new Guts World Tour film isn’t a ‘bad idea, right?’

In a world where live music is becoming arguably inaccessible to many, can people afford to be forking out upwards of £50 on concert tickets? I guess Olivia Rodrigo’s new Guts World Tour film isn’t a ‘bad idea, right?’

After being on the road since February, Olivia Rodrigo has finally wrapped up her GUTS world tour – becoming Billboard’s Touring Artist of the Year. On the 29th of October, Netflix released their version of the tour, live from the Intuit Dome in Los Angeles, giving fans at home the chance to experience the show from the comforts of their own homes (and bank accounts!)

It’s true that nothing can replicate the feeling of live music, but in this instance, tuning in at home was the only option for many fans. Whether they lost the Ticketmaster war, don’t live near a tour date or they simply couldn’t afford tickets, live tour movies are a way for fans to experience every emotion felt in person, with their personal at-home concert. In the GUTS World Tour film, viewers can experience the heart-wrenching sorrow from Rodrigo’s first single ‘driver’s licence’ to the upbeat and energetic cover of ‘HOT TO GO!’, featuring one of music’s latest stars, Chappell Roan.

A problem many fans face nowadays is actually being able to afford to attend these arena shows, which are sneakily creeping up in price. With mainstream artists having a large fanbase and high demand, they can charge high prices and get away with it. A standing ticket to the GUTS world tour at the new Co-op Live arena set fans back around £90, a price somewhat unjustifiable for many, including students.

As live music for mainstream artists becomes more expensive, tour films are an exceptional way for artists to be inclusive. It’s important for everyone, from young fans to casual listeners to have access to the art of concerts and experience music from big artists (without the hefty price tag!)

Words by Grace Moore

A Eulogy to Sincerity 

“You are better than a brainrot affinity.” – Millie Cain raises a thoughtful conversation on how we interact with music and whether social media has led us to devalue art and its content.

Whether sincerity is owed to music is not a debate I will be settling today – nor a question I believe I can answer. Unfortunately, the world doesn’t rotate based on reciprocity, meaning that what might be owed has not been given. How worthy is your work if it is not taken seriously? If it is taken with a laugh and a poke and thrown back in your face? 

The death of earnestness is one I mourn. A severe lack of counterculture to fuel an approach synonymous with post-postmodernism – we are breaking away from irony and cynicism and into a world of overflowing optimism & radical acceptance. 

While we can take into account those who do make art for fun, entertainment and amusement, this is especially popular in short form media content & has began to create an overwhelming build up of an audience expecting such. This is not a genre though, and for this audience they are beginning to expect that all they consume can be taken and viewed with a lens of ridicule that is undeserved. 

Streaming platforms also steal some integrity in this argument. Many artists discuss the importance of their audiences listening to their albums in order, in the arrangement they have painstakingly poured over for hours. To then be taken, spliced into separation and viewed as singular pieces. This brings forth the ‘clickbait’ or eye-catching content pulse that has begun to drive marketing pursuits generally. 

Finding and clinging to fixed ideas such as cannibalism as a metaphor for love was one such popular idea; must we be lured in by the grotesque and hideous to somehow understand? Buying into horror stories of wars being fought far away from our homes for content must be disciplined and those who pursue it, educated. 

Brain rot culture on tiktok is suffocating newsfeeds and art releases. We are currently in an ‘irony epidemic’, a term coined by Ethel Cain in a recent rant about such matters. A potentially post-post-ironic tone is being set and completely overshadowing critical thinking. Since when was taking genuine care and appreciation for art or music or film ‘cringe’? 

To explicitly state: having fun and making jokes in funny scenarios is always lighthearted and welcomed. With personal trauma, humour is a hugely successful tool for coping and comfort. Wrap yourself in that & in the warmth of your privacy. However, truly serious matters are being tainted by brainrot culture. Repeated comments / phrases that may have singularly been hilarious in one context, but are now being wielded as a crutch by people to avoid actually meaningful engagement with the media that is thrust before them. 

Our society on the whole have typically consumed media for escapism and we are so fortunate to have so many spaces to do so. To sit and listen to an album in its entirety with no distractions can be a fun, evocative, and lighthearted experience but it can also be reflective and appreciated as a dark piece of media. 

Fans are finding a severe lack of pensive discussion about art they appreciate. Yes, we understand your favourite artist ‘ate’ – we’ve seen it written a thousand times somehow. How did it make you feel? How did this carefully curated and meticulously crafted experience genuinely affect you? 

By having no sense of nuance and just taking sensitive and delicate topics at face value, we are losing personal opinions, swayed by senseless online reviewers who project their own media tractive dreams onto albums.

We can wade through desolate wasteland of content to try and find debates and discussions and shared ideas. Appreciation and awe feel rare and special in the waves of mindless, addled typing.

As previously mentioned, Ethel Cain is an artist of harrowing music; her album’s ‘Ptolemaea’ & ‘Hard Times’ are difficult to listen to, to feel and they push real introspection forwards. But after all, art and music can and should make you feel uncomfortable, and that is okay. To have such a diverse range of music available to us at all times is a gift, not something to avoid. Are we so detached from humanity that we cannot see and feel what is being placed in front of us? As adults, and in the older half of Gen Z, we do not need to censor ourselves from sensitivity. You are better than a brainrot affinity. 

Humanising artists is a change that must come soon. God forbid you actually might be annoying when you scream over people and shout them down. When you dissect their work into whatever is the most eye catching event. Instead of delving into their process and psyche, we delve into silly edits and stolen ideas. Artists do not owe you content. 

We will never be sated – despite the abundance before us. Listen deeply and truly, even to share that experience with those you love and sit and well in things that make you feel. And please, I beg you, create an opinion, hold it, mould it to your desire, but hold what is yours and don’t let it be tainted by consumerism. 

Words by Millie Cain

Smitten: An Album You’ll Fall Head Over Heels For

Joseph Nozedar reviews the Manchester indie-pop band’s 4th album as Smitten captures the hearts of fans with their nostalgic return to an 80s jangle pop sound.

Smitten (2024) is an ambush to the ears, a genre bouncing haze of nostalgia. The album harks back to past lives and past loves in both lyrical content and artistic pastiche. Somewhat nostalgic, yet refreshingly modern, with a lot of things I love sprinkled into the mix. Initially, I wasn’t sure what to make of it, but on my second listen, the infectious, euphoric energy radiating from the record took hold and a smile crept onto my face that stayed for the entirety of the album.

Written between the US and UK over a two-year period, Smitten finds Pale Waves reflecting upon their Northern roots and adolescent memories. Deviating from the rebellious pop punk sound of the 2022 album Unwanted, this new record is a melting pot of past influences. It draws inspiration from the synths of the ’80s, jangle pop of the ’90s, and the pop-rock scene of the mid-2000s.

The album begins with the explosive and hypnotic single, ‘Glasgow’, a track that singer Heather Baron-Gracie has proclaimed her personal favourite from the album, it offers a glimpse of the nostalgic energy and artistic growth present throughout the album.

But Smitten isn’t purely a walk down memory lane. Modern pop hooks on tracks ‘This Is Not a Love Song’, ‘Gravity’ and ‘Kiss Me Again’ showcase the definite influence of contemporary pop. It manages to marry the catchiness of modern pop with intimate and personal lyrics and instrumentals that speak to you.  Smitten does not dip into modern pop’s soulless sheen; songs like ‘Thinking About You’ offer a warm, authentic humanity that feels ingrained in the album’s DNA. 

Image Credit: Kelsi Luck

This emotional depth is encapsulated by lead single ‘Perfume’.  An excellent choice for the band’s first single and a personal favourite. Lead vocalist Heather sings about being totally enamoured with a person: “My mother says that when I want something I never let go / Call me obsessed but I don’t mind just as long as it’s all mine”.  ‘Perfume’ is an infectious 1980/90s-leaning anthem reminiscent of bands like The Cure and The Cranberries. 80’s synths and 90’s jingle jangle guitars pull at the indie heart strings to create a joyous sound bath for the listener.  

Encapsulating a beautiful, fleeting, youthful summer in under four minutes, ‘Last Train Home’, is a homage to the sound of The Sundays and The Cranberries. Heather’s bewitching siren-like vocals transport the listener back to the nineties. It’s indie pop at its finest, showcasing the album’s transportive power and reminding me why I first fell in love with indie music as a teenager. 

While the band has deviated from their earlier sound, there are still shades of their pop-punk prestige and fierce attitude in track ‘Miss America’. This defiant attitude coupled with the honesty of Heather’s openly queer lyrics and the band’s increasing visibility within the LGBTQ+ community, serve to deepen the emotional resonance of the record. When interviewed on the album, Heather stated that Smitten aims to capture the excitement, euphoria, and even confusion that come with early queer relationships. The band integrates their personal experiences into the music in a way that feels empowering for their LGBTQ+ fans.

With Smitten’s melting pot of influences, Pale Waves have crafted a multifaceted sound that can only be considered their own.  Smitten will add further depth to their live setlist and another edge to an already sharp and versatile band. As Heather has said: “These will be the best Pale Waves shows to date. The UK is home for us, so these shows are even more special and we’re so excited to get to play songs from Smitten live.”

For Your Sins Debuts Dea Matrona’s Entrance into Rock Scene

Eszter Vida reviews irish rock duo Dea Matrona’s debut album as they are venture into the territory of pop and rock music with their stellar debut album For Your Sins.

Let me introduce you to your favourite band: Dea Matrona. The duo, composed of Orlaith Forsythe and Mollie McGinn, plummeted into the country-rock industry with their eagerly anticipated debut album For Your Sins. The catchy pop-rock album makes a sweeping statement on its themes of intoxicating love and frenzy with a passionate blend of their indie-rock, pop and disco influences, topped off by their individuating Irish identity.

I stumbled on them, as you do with most rising acts nowadays, through their Instagram reels, specifically a viral clip of them covering fellow Irish heroes The Cranberries. It seems this identity becomes a foundation in many of the songs, along with their mythological name derived from the Celtic goddess depicting the alluded divine femininity of their aura. While their style is very derivative of classic rock, the duo equally boasts their love of country legends like Dolly Parton and Shania Twain soundtracking their coming together many years ago as friends and in constructing this passion project.

The opening track lures you into a brooding 90s Matrix vibe. ‘Stuck on You’ as an apt opener kicks off the LP with an unapologetic attitude of wanting somebody and feeling the unshakeable urge in being lured into an existential questioning of passion and sin. It’s a catchy, femme-fatale type of track with a trilling guitar and bass riff that mirrors the apocalyptic zeitgeist of the album, which becomes even more evident in songs like ‘Red Button’ with the impending doom of staccato guitar, especially in the fiery lyrical imagery of the bridge section. They certainly embody the idea of having nothing to lose and layer up with a smoky demeanour on the bold follow up ‘Stamp On It’. This shapes the album’s more classic 70s rock side of glimmering Beach Boys-esque backing vocals and distorted guitars. Declarations of ‘just like a treasure, you belong to my collection’ and ‘you’re my religion, baby come and put a stamp on it’ don’t suggest but scream desire while songs like ‘So Damn Dangerous’ offer a heavier, grittier take, with influences of their more modern contemporaries of Arctic Monkey’s AM era coming through.

The best way to absorb somebody’s music for the first time is to see them live, which is why I went down to Vinyl Whistle on a Saturday morning to see their acoustic set before their headline at The Wardrobe. Their spirit performing live really shone through as you get to experience their unique inspirations of stories behind songs like ‘Did Nobody Ever Love You?’, a funky and biting response to Mollie “being pissed off”, as put it in their own words.

image credit: Sonic PR

Something else that was great to experience live was what we hear on the informal B side of the album. Their more country-folk, ‘breeze in your hair’ type of road trip songs that bring their harmonies bring together in a stunningly symbiotic way echo the vibe of California girl rock groups like HAIM. ‘Glory, Glory (I am free)’ represents the duo’s togetherness with a country-folk, There’s a good mix of easy-listening and breezy tracks on this record, like ‘Won’t Feel Like This Forever’, which encapsulate the humble campfire nature of how these songs are carefully crafted with heartfelt stories on the trials and tribulations of youth and entering a whole new realm of life and music. Their success comes after years of busking and their musical progression from obsessing over their country influences, a key signal found among the bluesy riffs in the likes of ‘Dead Man’s Heart’. The whimsical pop track ‘Every Night I Want You’ is another stand out that is definitely a song reserved for the summer, with 60s style backing ‘doos’ and ‘woos’ sang in a more upbeat disposition.

My favourite track on the album must be their dark, moonlit closer ‘Black Rain’, which rounds off a gloomy yet suggestive nod to the uncertainty of the future. If ‘Stuck on You’ represents dusk, this song is the moonlight after sunset as the significant duality of these tracks ties up the broody imagery, which is effervescently witchy and Stevie Nicks coded. Lyrics like ‘the weather’s changing and my body’s changing’, the song feels almost transformative and paranormal as the band described in other publications that its meaning resembles “that feeling when your heart sinks”, leaving us on a narratively ominous ending.

Already touring venues like Leeds’ Wardrobe and opening at BST Hyde Park shows for Sheryl Crow, success is on the sunny horizon for this group. For fans of Heart, Fleetwood Mac and potentially Abba, this is for people who enjoy fun and fearless experimenting with the blending of genres, which has helped shaped the duo’s roaringly distinct sound, enriching the sound of today’s indie-rock spheres. 

Dea Matrona’s debut album For Your Sins is out now on all platforms for streaming and purchasing.

Words by Eszter Vida