“If you haven’t heard of YUNGBLUD, this is a good time to get to know him“ - Yungblud - Idols - Album Review

Words & Review - Alia Thomas

Photo Credit: Tom Pallant

If you haven’t heard of YUNGBLUD, this is a good time to get to know him. It’s time to open your eyes and ears, and delve into this new era of good old British rock and roll that comes in the form of his latest album, Idols. The 27 year old artist from Doncaster has made an exciting return with the first part of his double-album showcasing a whole new era of his artistry, that will no doubt stretch to multiple generations of new fans. Idols, his latest body of work, feels like a beautifully matured version of the lad from Doncaster, both personally and musically, with some strong nods to his musical influences coming through in his evolving sound. 

YUNGBLUD’s former albums explore his own personal experience and the universal struggles of mental health, self-identity, and the effect that societal pressures have on youth, amongst other things, and as much as it touches on some of those same topics, Idols, in many ways, is different. This album speaks a lot more on identity, and explores the notions of idolisation of others, and how we seek external validation before looking within and accepting ourselves as we are. He wanted this album to be “a project with no limitations” and it definitely feels like one. No two songs sound the same, and the sound for the majority is far from the usual we know from him. 

The album opens with Hello Heaven, Hello - also the first single released off it, which gave us a good insight into what was to come. A song that can only be described as an epic 9 minute rock anthem, giving sounds reminiscent of the old YUNGBLUD that we know so well, mixed in with the new, good old fashioned rock and roll vibe he’s hitting us with. The song isn’t just a modern day rock and roll anthem. It feels like a bold statement - a perfect choice as the introduction to this new era. Made up of 3 acts, Hello Heaven, Hello seems to be a nod to YUNGBLUDs’ life experiences growing up, going against the grain, of which he continues to do so with this track. For a world that’s used to the average 3.5 minute song, it’s rare that you find one of this length that seems to have such a clearly marked narrative as this one does, and the ability to grip the listener so intently. A triumphant introduction to the record.

Moving through the album we’re given sounds we’ve not yet heard from the artist before but those that can clearly be seen as inspired by YUNBLUD’s own idols, with sounds reminiscent of the likes of David Bowie, Queen and Elton John. The second track, Idols Pt I, feels nostalgic, youthful, and in ways, hopeful. With lyrics like “all the boys are girls, all the girls are boys” and  “living like idols if we want to be, flying through the obstacles of emancipated dreams” the song’s narrative feels very relevant to the challenges within society today, of dreaming of the life we want to have, to be who we want to be, yet still influenced by others. 

The third song, and second single released off the album, Lovesick Lullaby, brings us back to a familiar sound of the rock/rap mix we know well from the artist. This particular song, of similar style to The Streets ‘Fit But You Know It’, is confident, punchy, and very British. Quite the opposite to that follows with Zombie, the third single released off the album, which is a beautiful, self-proclaimed love letter to nurses and healthcare workers, and one of the more emotional songs on the album. Inspired by a time of struggles through his grandmother’s ill health, the lyrics share what’s reminiscent of the pain and feeling like a burden to your loved ones through these challenging times. 

Next we have The Greatest Parade, a song that feels like a celebration of life, with a reminder to us that all we know is “just today” so to embrace it all, followed by Change which feels like a modern day Queen song, with a guitar solo that would give Brian May a run for his money. It’s in these musical moments that makes Idols feel like a more mature body of work along with its evocative lyrics.

Monday Murder references laying down weapons and singing war songs in the “fight for the beautiful life”, touching upon the challenges within society that many come across to feel and be who they want to be, before we swiftly move into Ghosts bringing the tempo up with another incredible, 6 minute melodic masterpiece. Starting in a way that you’d expect a YUNGBLUD song to start, and moving through with a chorus that brings a classic catchy YUNGBLUD hook, but progressing to be hit with the unexpected twist of classic rock guitar riffs, moments of orchestral string haronies, and ending with an almighty scream reminiscent of Guns and Roses’ Axl Rose which leads nicely into Fire, one of the more instrumentally heavier songs that certainly packs a punch. War, on the other hand brings us back to a similar vibe as Zombie. It feels like somewhat of a love song; to whom, it’s unclear, but the lyrics feel familiar. “Everybody loves the way you are, but you don’t let them look inside you do ya” resonating within. 

The album rounds off nicely with Idols Pt II, and Supermoon - the songs that really bring together everything that the album was about, lyrically. Idols Pt II beautifully envisions a setting that no doubt we all will have known at some point. Posters on the walls of our idols that we put on a pedestal. The people we want to see within ourselves. The people we aspire to be, but the version we see of them being a figment of our own creation, our own imagination. As it effortlessly flows into the final song, Supermoon, we’re immediately hit with a beautiful piano intro sounding not too dissimilar to something that could be heard in an Elton John song, and vocals like those of David Bowie, singing “all you are is a self-fulfilling prophecy, product of your own temptation, live in your imagination.” A powerful start. The conceptual idea that our idols are like Supermoons is an interesting comparison, but one that makes sense. We see these people as larger than life characters, almost superhuman, like how a Supermoon can appear in comparison to a ‘regular’ moon that we see so often. However, being brought back to reality with the fact they’re human, just like us, “they don’t know what it is that they love, any more than you do.”

Overall the 12-track album is a brilliant representation of what this new evolution of YUNGBLUD is. He describes it as “a love letter to self-reclamation… to rock music… [and] to life; in all it’s f*cking madness”, and as he continues to follow his own path, his own rules, he’s practicing what he’s preaching. This album shows an even bolder, more courageous, more authentic version of YUNGBLUD and his musical endeavours, and a maturity within the music, that’s clearly heard both lyrically and within the production.