Album Review: Live at Bush Hall - Black Country, New Road

Days before the release of what has since become their widely-acclaimed chamber-pop classic Ants From Up There, English rock group Black Country, New Road faced unprecedented circumstances. Citing mental health challenges, lead singer and eclectic storyteller Isaac Wood announced that he would be stepping away from the group’s endeavors indefinitely. Not only did this present the obvious long-term obstacle of having to redefine the group’s sound and personality over time, but their upcoming tour was now in question since all of the band’s material from their first two albums was defined by Isaac’s contributions. This left many Black Country, New Road fans experiencing the bittersweetness that the group so often evokes in its narratives, but this time about this band itself. Where would they go from here? Could their future music ever live up to the impossibly high standard set by For the first time and Ants From Up There? What happens now?

Fortunately for Black Country, New Road fans, it’s apparent that putting this group of extraordinarily-talented musicians in the same room together leads to nothing short of sonic euphoria. Instead of replacing Isaac with another lead single and touring the group’s album tracks, they took a chance by assembling a brand new setlist of songs that highlighted each member’s abilities in a refreshing light, even allowing instrumentalists like May Kershaw, Tyler Hyde, and Lewis Evans to lead the charge and attempt to fill the large (basketball) shoes left behind by Isaac on the mic. Their most recent project, not quite a third full-length LP but certainly more than a just collection of tracks, Live at Bush Hall is a special recording of the setlist the group arranged after Isaac’s departure recorded on both audio and video in one of London’s most historic venues.

From the first track “Up Song”, it’s apparent that Isaac’s departure is very much still on the minds and hearts of each of the group’s members. Despite this, this excellent opener is a triumphant victory lap and self-congratulatory reminder that these are all friends making music, with an ear worm of a chorus that states: “What at what we did together, BC, NR - friends forever!” Track two, “The Boy”, explores a heart-wrenching, theatrical narrative of a Robin losing its ability to fly and attempt to restore its broken wing. While somewhat shrouded in layered vocals and a unique narrative structure, this song’s symbolism quickly becomes apparent, and May’s vocal contributions demonstrate that a varied style could provide refreshing and useful for the group moving forward.

“I Won’t Always Love You” is one of the most structurally-captivating pieces the group has released up until this point, with the narrator struggling to lie to herself about a relationship that has slipped past the point of no return. As the song progresses and she finally admits to herself that the love she once felt is no longer, she is able to speak more clearly and directly, with an ever-swelling instrumentation that eventually blooms into the full Black Country organized chaos that fans have grown to adore.

“Across the Pond Friend” is up next, and so is Lewis Evans - whose semi-flat vocal delivery would prove jarring if not for how well it is accompanied when juxtaposed to the upbeat instrumentation of this track. The story of living more adventurously than you’re accustomed to and doing something as simple as visiting a distant friend is both fulfilling and crushing, with crushing lyrics like “On our last night, we watched a film and had a cry / How could I be ready to say goodbye? / And just like that, you’re in my mind, you’re back into my arms again / My across-the-pond friend.”

Speaking of crushing, the following “Laughing Song” is anything but a knee slapper, as it explores Tyler’s experience in losing someone incredibly close to her whether to death or to circumstance. I may be presuming, but I hear the subject being discussed here as Isaac, with lines like “Laughing at our own songs again / How we laughed, you made me laugh / Well, what does that say? / What does that say? / When I have accepted that no-one else will make me laugh like that - ever again?” seemingly confirming the depth of impact that Isaac’s departure had on this group of friends. This isn’t to fault Isaac for taking the actions needed to preserve his mental health, but instead to explore the often bittersweet nature of life that Black Country, New Road so frequently captures the essence of.

“The Wrong Trousers” is an uplifting and sometimes humorous track, but even the Weyes Blood reference could’ve elevate it above forgettable to me, especially when surrounded by such powerhouses. None exemplify this more than the following “Turbines/Pigs”, which I hope is adapted and featured on a future full-length studio project. One of my favorite Black Country, New Road songs to date, this piano-backed epic’s chorus is haunting, with May Kershaw repeating “Don’t waste your pearls on me … I’m only a pig” and eventually culminating in the brutal “Without a broom or bubble, you learnt to fly all by yourself / You could see through the mess / You chose to fly above us.” Chills.

“Dancers” is another highlight, with the central core metaphor of dancers standing still on a stage as shells of who they once were. When paired with the revelation that Tyler is struggling with self-hatred throughout the track, this song proves to be yet another tearjerker. Finally, “Up Song (Reprise)” puts a thematic bow on this project by resurfacing the opening track’s lyrics and a final, existential look inward with the lines “Look at what we did together / Don’t know how you did it / Have you come out half the woman you were before / Or twice the person you ever dreamed you could be?” Hopefully the answer to that question is quite clear at this point — Black Country, New Road as a whole has seemingly used very unfortunate circumstances to evolve, adapt, and continue to expand their sonic capabilities even further than the sky-high standard they set for themselves. But the question even being asked reveals that their identity as a group has been shaken, and they are unsure if this new formula will yield the same brilliance that their debut and sophomore albums captured.

While not a conventional release, I found a live album the perfect next step forward for Black Country, New Road. This project highlights the many skills of their members, offering an array of new sounds and ideas to fans, while capturing the same aesthetic and tonal quality that we’ve grown to love. This project will not be a part of my year-end list because it was released under such particular circumstances and isn’t being framed a formal third studio album from the group, but that doesn’t mean it won’t be one of my most-played favorites this year, even with an asterisk next to its name. Black Country, New Road has already established a special place in my heart with their first two albums, and Live at Bush Hall is yet another moment that leaves my jaw on the floor and leaves me excited for what’s in store for this band in the coming years.

Favorite tracks: “Up Song”, “The Boy”, “I Won’t Always Love You”, “Across the Pond Friend”, “Laughing Song”, “Turbines/Pigs”, “Dancers”

SCORE: 8/10*

Album Review: Ants From Up There - Black Country, New Road

A year to the day after the release of their critically-acclaimed debut album For the first time, English rock band Black Country, New Road has returned with their highly-anticipated sophomore follow-up Ants From Up There. Despite their overnight success and seemingly limitless potential, the group recently announced that lead vocalist and lyricist Isaac Wood is leaving the group indefinitely, citing mental health reasons for his departure. Wood’s unique vocal delivery, revealing and introspective lyricism, and unbelievable chemistry with the rest of the band leave fans wondering how the group will move forward. For now, however, they are encouraging their fans to enjoy and appreciate Ants From Up There — a project that is self-evidently the product of musical genius and unique circumstance. Ants From Up There is a feat; simultaneously wider in scope and scale than most rock music in recent memory, while delivering intimate themes and vocals throughout all of its impeccable tracks. Regardless of what the future holds for BC,NR, we are lucky to have been graced by the release of this incredible record.

Instrumentation and raw musical ability have been a high point of all of the group’s releases up until this point, and that doesn’t change on their newest project. The opener “Intro” sets the sonic tone and mood for the rest of the project, which is upbeat but urgent all the same. The sense of a push and pull between the good and the bad, the fragile and cemented, is a theme often revisited throughout the album. “Chaos Space Marine” follows, a high-tempo track that utilizes Wood’s unique writing style. The group has described this track as “A voyage… a sea shanty… a space trip,” which astutely captures the essence of this comparatively welcoming and accessible track. This easygoing tone is countered by the following “Concorde" which introduces the airplane metaphor that graces the album’s fantastic cover art. Wood likens the group’s success to a Concorde jet, limitless and more powerful than he could’ve ever imagined. The recent discovery of his departure adds more emotional weight to many lines in this song, such as: “But for less for a moment / We’d share the same sky / And then Isaac will suffer / Concorde will fly” which is heartbreakingly poignant. The following instrumental riff is triumphant and prideful, a sign that Wood knows leaving is what is best for both him and the group.

“Bread Song” was one of the singles for this album, and it aptly uses outlandish metaphors to drive home specific and unique themes - something this group is now known for. While on its surface this song seems to discuss eating toast, its substance is navigating intimate relationships in the digital age. Its instrumentation swells to a cathartic second half, and like many tracks on this album, its payoff justifies its extended runtime. “Good Will Hunting” is another fun track, and one I’m surprised the band didn’t use as a lead single for the album. Its chorus, which assembles tidbits from others’ conversations, is more of a pop outfit than their typical tracks, with Wood adopting more of a sung delivery than his signature spoken-word style. “Haldern”, named after one of the group’s shows at the Haldern Pop Festival, recreates what was an entirely improvised track. The keys, saxophone, and Wood’s vocals blend wonderfully together, culminating in a powerful instrumental second half.

“Mark’s Theme” pays tribute to the family member of one of the band’s members who died of COVID-19 in 2021, furthering the album’s sonic themes and adding gravity to an already heavy project. The final three songs on the album are what separate the great from the masterful, as the group flourishes more than ever before. “The Place Where He Inserted The Blade” discusses the intricate complexities of navigating a partner’s previous traumas. The pre-chorus of “ I know you’re scared / Well, I’m scared too / But every time I try to make lunch for anyone else, in my head / I end up dreaming of you” gets stuck in my head so easily that this is essentially all I’ve listened to since the album’s release. “Snow Globes” is another track that rewards patient listening and cathartic payoff, as the 9-minute long track slowly builds and crescendos with manic drums and vocals.

The album’s final track, “Basketball Shoes”, already has a bit of a reputation from fans who have listened to the group’s live performances of it. Nearly 13 minutes in length, this closing track is immediately in contention for 2022’s song of the year. All of the project’s previous themes appear again, acting as closure for this bittersweet project. Many lines from this song stick with me, but none more than: “We’re all working on ourselves / And we’re praying that the rest don’t mind how much we’ve changed / So if you see me looking strange with a fresh style / I’m still not feeling that great” which perfectly captures mental health struggles despite outward successes. Essentially a medley of the rest of the project, this is exactly what a closer is supposed to do - recap everything that has been said so far, while leaving the listener in awe and just wanting more. This journey of a track ends so strongly and triumphantly that despite Wood’s departure, I have no doubt that Black Country, New Road will continue to innovate, grow, and release more incredible music together in the future.

A famous phrase states that “All good things must come to an end.” While this isn’t necessarily “the end” for Black Country, New Road, it will forever be seen as an inflection point for the group with Isaac’s departure. Never before have I watched a band achieve and surpass its potential so quickly, as Black Country, New Road has seemingly released its magnum opus in just its second release. Sonically, this project is unmatched and unlike any music being released today. Lyrically, this project has mass appeal while being hyper-specific at times. I wish the best for Isaac Wood and the rest of the band moving forward, and I thank them for sharing such a perfect album with us all.

Favorite tracks: All

SCORE: 10/10

Album Review: For the first time - Black Country, New Road

English rock band Black Country, New Road have officially made their debut with the release of their first album For the first time. Multiple singles from this project garnered critical acclaim and internet popularity, and the eventual release built up a sort of cult following ready to see what this eccentric and instrumentally skilled band had to offer. Luckily, this edgy, jazz-influenced art pop and post-punk album leaves very little to be desired. At only six tracks but a 40-minute runtime, this record goes by very quickly in the best ways possible.

The opening and self-describing track “Instrumental” is a multi-instrumental accomplishment. Each layer culminates by the end of this 5 and a half minute track, crescendoing intensely with saxophone backing and hard-hitting drums. The intensity sets the tone for what’s to come on the rest of this project impressively. “Athens, France” is our first exposure to Isaac Wood’s tormented vocals, which communicate their meaning impactfully. The instrumentation continues to wow throughout the track, as it never settles into a single identity. The closing jazz portion of this track is surprisingly calming, and it transitions well into track three.

“Science Fair” tackles a rather unexplored subject matter, which makes it all the more unsettling to listen to. Uncomfortably stacked electric guitars wail upon one another as the continuous drum backing never fails to continue on. The eventual synth breakdown is incredibly satisfying, as it definitely feels earned from the listener’s perspective. The end of this track is absolutely wild, as it feels like the entire band is playing their instruments as if they were at the forefront of the song. “Sunglasses” is arguably the band’s biggest single, and the album version was changed slightly from the original lyrics that took the internet by storm. Broken up into two parts, this song is one of the most exploratory on the album. Part one analyzes Isaac’s reluctance to age into what he sees as the worst characteristics of adulthood. Relatively relaxed instrumentation assists us along the way listening to Isaac’s struggles, but things take a positive shift toward the second act of the song. Isaac reflects on a mundane object that makes him feel better, which is the title sunglasses. As his confidence grows, he wishes that others could admire him. “I’m more than adequate, leave Kanye out of this” stands out as an especially memorable lyric on this great track.

“Track X” is the most understated song on the album, as it’s largely calm and atmospheric, especially when compared to the rest of the songs here. Mostly introspective and with some biblical imagery, this is a reprieve from the intensity of the surrounding tracks, which is especially needed before the closer. “Opus” finishes things off so intensely just as you start to think things are settling down. This song was supposedly written on the same day as “Instrumental,” which is insane yet believable. The angst on the track is palpable, and the horns ushering the song along are hypnotically relentless. The album ends just slowly enough to catch your breath and wonder where BC, NR will go from here.

This is a great debut album from a largely unknown group that I suspect will build a cult following of dedicated fans in no time. Every track is unique and intense in its own way, but not to the point that I haven’t had it on repeat since the project released. I highly suggest you check this one out.

Favorite tracks: “Instrumental”, “Athens, France”, “Sunglasses”, “Track X”, “Opus”

SCORE: 8/10