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i’ve been thinking about power ballads a lot lately, partly because when they’re done well? they can really pop off. like, it’s a super tricky one to land especially because the line between excellent, cool, interesting and tacky and annoying is razor thin. and actually, on the topic? a lot of the like, big ones, your classics? a lot of those suck i’m really sorry. i’m not gonna name names, i need to be alive in a few weeks, however! i have a bit of a banger and a bit of a ballad for you this week. it’s from an indie pop outfit that goes by the name of boys go to jupiter, and the ballad in question? called last last time. lighters in the air, wave ‘em like you just don care.
i’m going to get something out of the way veryyyyy quickly and that is the vocal performacne in this is a masterclass. every part of it, every note almost is pitch perfect and backed up with just an absolute tonnnn of energy and personality. it’s such a performance it honestly blew me away when i first heard this. not only that though, it’s a performance that gives a massive massive boot into this songs hook-ability. for all the drama and energy going on it’s still oh so catchy. and like, i mean it’s catchy catchy, as in had it in my head before the final chorus rolled around.
that’s not easy to do! and it’s usually something that people get wrong because they like, catchy-max it. think of (sorry) baby shark (sorry) where the hook is so catchy you’re singing it before the end of the song. it’s definitely most songwriters can do, write something sickeningly catchy, but where this pops off is it’s doing that at the same time as also being a really great song backed up by solid song writing. i also want to point out the moment at 0:45, where the singer is playing with treatment to like totally derail the song.
it’s such a clever idea because they know they’re going balls to the wall on the next section. by dipping down a bit, it means that that soaring note for the first few beats of the chorus feel all that higher and more grandiose when relative to what was going on in the verse, it’s not that huge. it’s little moments like that that show a songwriter that knows what they’re working with, and isn’t afraid to lean in to and eccentuate the strong moments of their track.
while the songwriting and vocals were absolutely top tier and genuinely excellent, i didn’t feel like the supporting instrumentation was doing much more than the bare minimum. there are moments however of real flair and creativity happening throughout the band, especailly in the tones and mix and construction of the riffs. this is a band that knows what they’re doing, they’ve just decided for whatever reason to take a bit of a back seat for some reason. i wish they wouldn’t they’re cooking and i would’ve liked them to keep cooking.
i’m gonna talk about this a bit in a min but this reminds me of the gillette song
like the song from gillette, where it goes the best a man can geetttt there’s a new version of it by tom grennan, and there isn’t, so far as i can find, and i haven’t looked very hard i won’t lie, a full version anywhere. but look, i don’t know why, but it slaps, it absolutely goes and for no reason whatsoever.
i’m going to claim a fair bit of credit here, because i think this artist is going to pop off massively and you heard it here first. they have a big song, and it’s kind of musical theatre codede, don’t worry about that, this is much better. the rest of the roster tho? ohh it’s banging, there’s a lot to love here and you should be loving it.
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it’s a brave thing to name your band after a rat! it’s an even braver thing to name your band after multiple rats! and yet, it’s deserved in this instance, absolutely.
shoutout to all of the boys in the audience! congratulations gang, got two songs written about you, and both of them are great.
this songs super weird, in a way that makes me want to go buy sunglasses. i love it.
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