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The lead singer of Yard Act, James Smith, jokingly asks the audience on the opening night of their UK tour if they are willing to “consume” them as a band, highlighting the transactional nature of concerts and the idea of being a commodity for consumption. Smith may also be alluding to the sometimes obsessive and one-sided relationship between fans and artists, especially in the age of social media where any negative feedback can be readily accessed.
Smith is discussing the indescribable energies shared between the performers and the audience, as they both feed off each other in a symbiotic relationship. This is something that Yard Act excels at, especially now that they have transformed into a punk-funk group. The band from Leeds emerged during the pandemic and wrote sharp, slice-of-life songs about the exhaustion of living in a capitalist society and the absurdities of trying to make ends meet. Their sound is a blend of various dry and cutting northern bands from the past, such as the Fall and Pulp, with a touch of Gang of Four and their own unique influences, including themes like troublesome landlords and the fascination with trench coats. Their music may be reminiscent of student bands, but with a newfound maturity and wisdom.
Yard Act’s debut, 2022’s The Overload, became a rallying point for guitar-inclined overthinkers, with Smith’s arch takedowns matched sting for sting by Sam Shipstone’s garotte-wire guitar. It reached No 2 in the charts and was nominated for a Mercury.
The musicians went on tour non-stop – it’s how they make a living – a familiar routine that often takes a toll on everyone involved, both physically and emotionally, as seen in countless other artists. Despite living their dream and proving their critics wrong, they can’t seem to escape feelings of uncertainty and the strain on their finances and personal lives. So when exactly do they feel like they’ve finally achieved success?
One of the main focuses of Yard Act’s second performance is their album, Where’s My Utopia?, which was released at the beginning of this month. The album’s title appears in bold neon pink from the keyboard workstation operated by multi-instrumentalist Christopher Duffin on tour. Their latest song, An Illusion, highlights the theme of being infatuated with something that may not be real. Throughout the set, the band also plays songs such as Dream Job and We Make Hits, which provide a satirical take on the music industry.
Some of the songs are dedicated apologies for Smith’s actions towards his young son, whom he is ensuring a stable future for by signing with a major record label and being away from home for extended periods of time. Other songs serve as tormented excuses for indulging in these actions. A few are intimate and introspective, as Smith shifts his focus from character studies seen in The Overload to reflections on his own past. Amidst the chaos of the musical arrangement, he sporadically utters words that linger in the air. “Vineyard for the North” delves into the impact of the climate crisis on the growth of Mediterranean grape varieties in Yorkshire, and questions Smith’s direction in life. “And when you’re surrounded by darkness, could it be because you’re the black hole?” he ponders out loud.
Yard Act’s fans likely appreciate their tendency to overanalyze everything, even though it may be a secret that the band remains just as dynamic when Smith takes a break. This is thanks to co-founder Ryan Needham’s strong bass groove, Shipstone’s experimental guitar sounds, and Jay Russell’s smooth backbeat on the drums. The band has been incorporating more genuine emotion into their music and incorporating catchy pop elements, as seen in their performances with backing vocalists Lauren Fitzpatrick and Daisy Smith.
With energetic and nostalgic elements, Remi Kabaka Jr, an important member of Gorillaz, produced Where’s My Utopia?. Yard Act’s live performances now have a 00s disco guitar band vibe, drawing inspiration from groups like The Rapture and LCD Soundsystem. The addition of lively saxophone parts can even be heard on their older track, The Trapper’s Pelts. Lead singer, Smith, has a bittersweet sound that reminds listeners of Damon Albarn. On We Make Hits, Smith leans affectionately on Needham, as the song is partially a tribute to the formation of their band; with Needham secretly sharing a room in Smith’s house.
Some fans appreciate Yard Act’s detailed lyrics about candy (Fizzy Fish) and chips, as well as the entertainment they provide by incorporating a wheel of fortune and having an audience member spin it to choose a song from their first EP. However, the band’s long-term success may rely on embracing a more genuine and intense version of themselves.
The first day of the rest of Yard Act’s next two years has been criticized for not fully embracing their angular post-punk roots and for incorporating disco strings. However, there is potential for them to push even further into these night moves. The end of their main set, “Vineyard for the North,” and standalone single “The Trench Coat Museum” both end with extended club remixes, with Smith using a handheld sampler while the band and crowd feed off each other rhythmically. Their songs, which often feature harsh insults and references to niche snacks, have gained a cult following. Rather than relying on this, the band focuses on creating an emotional and physical experience for their audience, which is where their longevity may lie.
Source: theguardian.com
