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During the first night of their latest UK tour, singer James Smith of Yard Act jokingly asked the audience if they wanted to consume the band, highlighting the transactional aspect of attending a concert. This also touches on the obsession with fandom and the idea of parasocial relationships, amplified by the internet where bands can see negative responses from critics while on tour.
Smith is referring to the indescribable energies that are exchanged between performers and the audience. It is a mutual relationship where both parties thrive off each other’s presence. Yard Act has mastered this dynamic, particularly after transitioning into a punk-funk genre. The band, originally from Leeds, emerged during the pandemic and began writing songs that cunningly capture the exhaustion and absurdity of living in a capitalist society. Their sound is reminiscent of the distinct edge and dryness of other northern bands like the Fall and Pulp, with a hint of Gang of Four. They also incorporate their own unique references, such as troublesome landlords and the allure of trenchcoats. Their music is reminiscent of student bands, but with a mature and worldly perspective.
The first album by Yard Act, titled “The Overload” and released in 2022, quickly gained popularity among introspective guitar players. Lead singer Smith’s sharp critiques were complemented by Sam Shipstone’s edgy guitar playing. The album reached second place on the charts and was also recognized with a nomination for a Mercury award.
The musicians traveled continuously – because that is how they earn a living – a cycle that, like many other artists, can often take a toll on everyone involved, both physically and emotionally. Despite living your dream and proving the doubters wrong, there seems to be no bright future where all your worries about money and personal matters disappear. When, exactly, do you believe you have achieved success?
This is one of the main themes explored in Yard Act’s second act. The album titled Where’s My Utopia? was released earlier this month, with the title displayed in eye-catching 80s neon pink on the keyboard workstation operated by touring musician Christopher Duffin. The set includes a new song called An Illusion, which highlights the idea of being in love with an illusion. Other songs such as Dream Job and We Make Hits humorously examine the ins and outs of being in a band.
A few of these songs are extended apologies directed at Smith’s young son, whom he is securing a future for by signing to a major record label and spending long periods of time away from home. Some of them serve as justifications for his own behavior and the fun he has while doing so. Others delve even deeper into Smith’s personal experiences, shifting his focus from the character studies of his previous work, “The Overload,” to his own past. Occasionally, he interjects with words that linger above the chaos of the instruments. “Vineyard for the North” discusses the impact of the climate emergency on the cultivation of Mediterranean grape varieties in Yorkshire and prompts Smith to question his own life choices. “And when you find yourself surrounded by darkness, is it because you are the black hole?” he ponders.
Fans likely pay to see Yard Act overanalyze everything, but even when lead singer Smith takes a break, the band remains just as engaging thanks to co-founder Ryan Needham’s commanding bass, Shipstone’s intricate guitar layers, and drummer Jay Russell’s smooth beat. Additionally, they are incorporating more genuine emotion and body-jacking shakedowns in their performances, moving away from solely relying on snarky cerebral themes. They have even added two backing singers, Lauren Fitzpatrick and Daisy Smith, and are exploring popular music conventions.
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Where’s My Utopia?, produced by Remi Kabaka Jr, showcases a dynamic blend of samples and 90s-style cut-up style. The driving force behind the Gorillaz setup, Kabaka Jr’s influence is evident in the energetic sound of the album. In their live performances, Yard Act’s sound has evolved to incorporate elements of 00s disco guitar bands like The Rapture and LCD Soundsystem. Even on older songs like The Trapper’s Pelts, the addition of exuberant saxophone parts adds a new dimension to the music. Lead singer Smith’s vocals possess a bittersweet quality that can be reminiscent of Damon Albarn. On the track We Make Hits, Smith embraces bandmate Needham, a nod to their close bond and how they started the band by illegally subletting a room in Smith’s house.
Although some followers may appreciate Yard Act’s detailed reference to candy (Fizzy Fish) and chips, and enjoy the comical break when they involve a wheel of fortune, where an audience member spins to determine which song from their first EP will be performed, the band’s greatest potential for success may actually be in embracing a more genuine and passionate version of themselves.
One potential criticism of Yard Act’s first day of their next two years is not that they have abandoned their angular post-punk roots by incorporating disco strings, but that they could further explore and embrace their night moves. This is evident in their performance of Vineyard for the North (the end of their main set) and their standalone single The Trench Coat Museum (the end of their encore), which both conclude with an extended club remix and involve the audience and band in a rhythmic exchange. Despite their sharp criticisms and songs about niche snacks, Yard Act has achieved a cult following. Ultimately, their ability to evoke emotion and move their audience is what will lead to their long-term success.
Source: theguardian.com
