Welcome to the new era of Nothing But Thieves. The Essex-born group’s return with their fourth album, ‘Dead Club City’, marks a thrilling new chapter for the band and sees them dive into the serene depths of a conceptual album for the very first time. With socially insightful lyrics, fearless experimentation, and a sound that defies genre boundaries, the record showcases Nothing But Thieves’ enormous talents and further cements their position as one of the most innovative and captivating rock bands of our time.
It’s been more than ten years since the city of Southend-on-Sea set the birthing grounds for the five friends that we now know as the alt-rock group Nothing But Thieves. From playing at small pubs and handing out leaflets to promote their music outside of venues of other concerts, to touring the stages of the world and releasing three uber-successful full-length records – the latest of them being the chart-topping ‘Moral Panic’ – the group has come a long way. But after the winding path that brought them to where they are now, the now London-based band felt it was time to change things up and turn the page to a new chapter with their fourth long player, ‘Dead Club City’. As the band’s first concept album, Nothing But Thieves invites the listeners to explore a carefully curated narrative that unfolds through different characters and story arcs within a city-sized members-only club, the Dead Club City. Creating an immersive experience but still staying close to their roots of painting a picture of the current world, the record, across its eleven stunning tracks, delves into themes such as advertisement, unity, internet culture, ageing, and politics, allowing fans to explore the real-world meanings behind the album as they move through each of the songs.
Starting off with the quite literal promotional advertisement for the club, the bouncy ‘Welcome to the DCC’ introduces the listeners to the journey ahead. Released as the very first single of the album, the synth-ridden track promises a perfect world to whoever is to enter the city with lyrics like, “Sunlit upland, a new planet / Enjoy the feeling, let it happen / If you dream it, you can have it / If you believe it, it can happen”, with singer Conor Mason’s arresting vocals set within the soundscape of the ‘80s and an added glittery touch of Prince.
With guitarist Dom Craik taking the production reins alongside John Gilmore (production, engineering) and Mike Crossey (mixing), ‘Dead Club City’ bursts with big ideas, pop hooks, soulful flourishes, and crisp riffs – something that is further solidified in the glamorous ‘Overcome’. Possibly one of the most pop-infected songs, the euphonic hit is written from the point of view of someone ready to leave reality behind and join the club, as guitarist and songwriter Joe Langridge-Brown states: “It felt like you really just wanted to curate this feeling of a road trip into the DCC – creating a world with the words rather than saying a load of things.”
Next up is the triumphant ‘Tomorrow Is Closed’, which was first drafted in 2019 and has since found its way into the DCC as an absolute staple and prompt fan-favourite. Written from within the haunting desperation to enter the club, the rock anthem touches upon themes of the slow destruction of society (and possibly the planet) and the album’s overarching theme of longing to find your own little haven of peace amidst all the chaos, with lyrics like, “Oh, it’s too late / Come watch the waste / Dirty English sky / It’s washing me away / Open my lungs / I feel the gunge / How it tries to kill me / It’s stinging”.
What follows is the first turning point in the story of the DCC, the part in which you – or the members of the club – realise that things might actually not be dazzling and sparkly as they first came across as. As the hip-hop leaning ‘Keeping You Around’ progresses with its addictive basslines and Mason’s silky vocals, the song follows the same characters which were first introduced in ‘Overcome’ and what happens once they reach the city, while the lyrics offer a nod to Nothing But Thieves’ past and their second album ‘Broken Machine’ – “Dead Club / So low / So good at pretending it’s fun though / Head fuck / Won’t go / So tired of being tired, you know / I wish I could make it easy / I’m still a broken machine, babe”. It is then that we understand that the Dead Club City may not be the heaven it was first promoted as, with the following ‘City Haunts’ further moving the story along, while it also introduces a new side to vocalist Mason’s musical talents, with a higher-register and soulful falsetto trailing the track like a glowing, red thread.
Digging deep into the current state of the music and media industry, the dancey ‘Do You Love Me Yet’ moves the storyline into the most 70’s and 80’s inspired realms, with notes of old disco tracks and funky pop numbers giving it its special glimmer. This is also the first but not last time we get introduced to the DCC’s own band called The Zzzeros. Written from the point of view of the group trying to reach for the highest levels of stardom, the smooth and also longest track of the album, which has already been proclaimed as a band-favourite, puts a real-life mirror up to today’s industry and its toxicity, with Mason humming, “Exploit a fan base and call it love / Be controversial but just enough / It sounds kinda like ELO / Get sued but you’ll meet a hero”. And with hints of exclusivity and the itch to get to the top no matter what plastering the metaphorical streets of the DCC, the impending ‘Members Only’ similarly extends the narrative to a place of yearning, set from a character’s perspective that didn’t make it into the members-only city, even though their name should be on the list. Embedded in a wave of soaring guitar riffs and tipping into more of a hip-hop nature, the song effortlessly fuses electronic and rock elements and once more showcases Nothing But Thieves’ ever-growing sonic palette.
Like a comforting ray of sunshine in the midst of a thunderous storm, the eighth number of the record, the sweet ‘Green Eyes :: Siena’ arises proudly as the standout ballad of ‘Dead Club City’ and a masterclass in emotional vulnerability. Championing the band’s ability to create an intimate connection with their audience, the quintet takes it down a notch, with singer Mason’s gentle vocals telling a tale of love and devotion while only being supported by a minimalist arrangement and honeyed melodies – “Sometimes when we lie together / I could die and make my peace / ’Cause I / I’ll love you forever, you know”.
Getting closer to the imminent finale of the record, the following ‘Foreign Language’ and ‘Talking To Myself’ continue the cinematic chronicle of love and longing, while the latter sees us reconnect with The Zzzeros, but this time written from within a fallout after the band has been chewed up and spat out by the Dead Club City. Highlighted by an almost orchestral ensemble of synths, gritty electric guitars and driven by a low and butter-smooth beat in ‘Talking To Myself’, both tracks further guide the listeners to a clearer sight of the DCC, one that has lost the rose-tinted glass it had been donning before – “Maybe I could see it coming / But ego gets the truth to bend / And now this Zzzero equals nothing / I guess the world forgot to end”.
Coming to the looming end of the twirling road through the DDC, we meet the possibly most surprising and riveting song out of the eleven-strong pack – the epic prog-rock number and genre-bending ‘Pop The Balloon’. Slotting itself nicely and deservingly into the ranks of the five-piece’s grittiest and roughest tracks, the glorious giant of a song sees all the characters the listeners have been introduced to along the way getting wrapped up into a big, tumultuous finale with all its crashing basslines, loud guitars and Mason proclaiming, “Blow up the moon / Pop the balloon / Do it for you / Kill the Dead Club City”. But while the album closer has a definite sense of an ending to it, it also feels like we are only just getting started, like the beginning of a revolution and the next step into a world of change and transformation that can only come from destroying the old to build something new.
Recorded and self-produced over the course of six months at Kyoto Studios in Essex, Nothing But Thieves’ fourth studio album ‘Dead Club City’ has the British rockers invite their fans and listeners to an unforgettable journey through the DCC, filled with soaring melodies, poignant lyrics, and an unwavering commitment to musical excellence. As a testament to their artistic evolution, the acclaimed indie group’s latest release highlights their growth, creativity, and ability to push boundaries while we see them delve into the sphere of conceptualism within a musical record for the very first time. From the first note that drops up until the final guitar line, there is a fearless exploration of diverse musical styles and influences that drive the long player forward and leads us through the new and intricate world of the Dead Club City. Is it a shared consciousness? Another planet? The next corporate wasteland? Heaven? Or somewhere else? All of this is open to people’s unique interpretation, but in the end, we get reminded to always remember that things just might not be as heavenly as they first appear. So, welcome to the new era of Nothing But Thieves, and welcome to the DCC. Applications for new memberships are open now.
Nothing But Thieves’ fourth album ‘Moral Panic’ is out now via Sony/RCA. Follow Nothing But Thieves on Instagram, Twitter and Spotify.
Written by Laura Weingrill
GEM Magazine 