Only The Poets’ Debut Album ‘And I’d Do It Again’ Is Radio ReadY

Only The Poets release their debut album ‘And I’d Do It Again’ tomorrow. Image credit: Chuff Media

“Growing up playing in local venues gave us our first chance to get on stage and perform to people, and supporting other artists down the line changed everything for us, so we wanted to bring the two together.” — Tommy Longhurst, Only The Poets

Since forming in 2017, Only The Poets have done things the organic way, growing a devoted fanbase with proper graft and relentless touring in local venues.

Frontman Tommy Longhurst, bassist Andrew “Roo” Burge, guitarist Clem Cherry and drummer Marcus Yates, seem to have ticked all the boxes for an upcoming band. They’ve featured on BBC Introducing, supported stars like Louis Tomlinson and Lewis Capaldi, and played festival slots including in their hometown of Reading, and Lollapalooza in Paris.

The only thing missing was an album.

With a sound inspired by 90s RnB and 80s' pop – The Police and Prince being notable inspirations – they make music designed to be relatable. Now, with their highly anticipated debut album ‘And I’d Do It Again’, releasing tomorrow on 30th January, Only The Poets (OTP) are giving loyal fans what they’ve been craving; an extended dose of dopamine hooks.

Read on for our review, plus a look at the release journey that’s just as novel.

Only The Poets, ‘And I’d Do It Again’ album artwork. Image credit: Chuff Media

Only The Poets’ Revolutionary Album Release Campaign

Only The Poets have made a clear statement in the run-up to their album release: support grassroots venues and emerging artists, or lose them.

To celebrate the release of ‘And I’d Do It Again’, OTP will be playing to a sell-out crowd on their largest headline date so far, performing at Brixton’s O2 Academy on 2nd February. Tickets were priced at just £1, making them the first band to do so at that venue. But is it all a PR stunt?

With an additional £1 donation per ticket sent to the LIVE Trust – a charity that funds the music ecosystem, the guys are putting their money where their mouth is when it comes to supporting small venues and upcoming artists.

“Without grassroots venues we won’t have the next big bands, and without bands & fans going to grassroots venues, they can’t keep the doors open,” Longhurst has said of the current pressures facing the industry.

Their journey to finding a support artist for the night has been just as rudimentary – and is still ongoing. Unsigned artists were invited on Instagram to enter a ‘Battle Of The Bands’, for a competition that takes place this Saturday (31st January), at the venue that started it all, The Purple Turtle in Reading. Fans will choose the London support from five shortlisted acts.

“Only The Poets have made a clear statement in the run-up to their album release: support grassroots venues and emerging artists, or lose them.”

It’s a nice full-circle moment, proving that OTP are some of music’s good guys. But how does their debut album shape up? Read on for our thoughts.

‘And I’d Do It Again’ Puts Punchy Hooks Over Poetry

After a brief instrumental intro, the album gets off to a strong start with ‘Monumental’. Moody, acoustic power chords tie the album to the band’s DIY beginnings, while Longhurst’s distinctive gravelly voice quickly announces itself as one of the group’s key offerings. 

Next is lyrically mild ‘Emotionally Hungover’. Originally released as a single, it ironically fails to stir up too much, though comes with a hook that refuses to be forgotten. Catchy hooks seem to be the name of the game here, with tracks like ‘You Hate That I’m In Love’ demonstrating Longhurst’s ability to produce earworm after earworm. In fact, it’s often the lyrics that let ‘Only The Poets’ down – surprising for a band selling themselves on such a promise. 

Sometimes all eggs seem to be placed in the chorus basket. Verses in ‘Freeze’ and ‘Say’ come over as neglected or derivative. There are creative exceptions, however, where we drift across genres, providing some necessary variety. ‘Thinking Bout Your Ex’ is a 90s throwback R&B groove. 

Similarly vulnerable is ‘Madeline’ (yes, another one… hopefully not the same as Lily Allen’s muse), which takes the foot off the gas pedal. Allowing for a few moments of introspection, it renders the guilt of telling someone what they want to hear in fear of hurting them: ‘Known for a while now / You’re no longer the one that I want’. Slower and more heartfelt, audible influences from The 1975 are laid bare alongside finger-picked guitar, vocalising harmonies, and a dash of strings. 

What can’t be denied is OTP’s commercial appeal, where tracks like ‘Don’t Wanna Know’ will get anyone singing. Sometimes, this familiarity with the mainstream can result in a lack of soul, evident in ‘Saké’. Comfortably the weakest, it lacks melodic nuance compared to its tracklist neighbours, reminiscent of an N–Sync 90s boyband vibe, easy to imagine dance routines popping out on stage.

Far more inventive are ‘God Knows Where You Were’, and lead single ‘I Keep On Messing It Up’, which seem to take inspiration from the likes of Fleetwood Mac; twinkling keys and 80s synths aplenty. These songs demonstrate more musical maturity, with greater balance and sonic complexity – the former unlucky to miss out as a single. 

“‘And I’d Do It Again’ is a respectable debut album, the product of seven years hard work... Short and slick, it’s designed for radio spins, filled with hooks that fans can latch onto and belt back. ”

*

Co-produced with DanDlion under Capitol Records, ‘And I’d Do It Again’ is a respectable debut album, the product of seven years hard work. OTP know what they are and who they’re targeting, with this release solidifying their presence in the alt-pop scene. 

Short and slick, it’s designed for radio spins, filled with hooks that fans can latch onto and belt back. The band’s commercial brains are on show in the context of a limited attention economy, sometimes at the expense of exploring lyrical themes in greater depth. Tracks often come in under two and a half minutes, squeezing every second for all its worth, and delivering relatable bops with an efficient punch. 

The band have already released half of their 14 track album, so inevitably there’s only so much suspense left in the tank. The Brixton gig ticketing and unsigned support competition has understandably overshadowed media attention on the album itself, but not necessarily to the band’s detriment. This campaign will make them a more memorable name than the album could on its own, offering Only The Poets industry respect, and the grace to keep developing their craft.