On their third album, the Leeds band swaps electronics for a tighter rock sound while James Smith stretches his voice from rap to croon, exploring a world stripped of deeper meaning.
Yard Act have never been easy to pin down. Their debut chronicled a satirical, collapsing Britain; their second turned inward, picking at frontman James Smith’s psyche over electronic diversions. On album three, the Leeds band pulls a different lever, stripping back to a core rock setup—guitars, bass, drums, piano—and pushing the songwriting into stark, often absurdist territory.
“You’re Gonna Need a Little Music” tightens the instrumental palette but widens the vocal register. Smith raps with full force on “Empty Pledges” and a broken, breathless urgency on “Thrill of the Chase,” then slips into a sultry, jazzy baritone for the title track and closer “Over the Barrel.” The echoes of Tom Waits are no accident; those songs wade through the same murky resignation.
The 11 tracks circle a single uneasy premise: we live in a world emptied of genuine meaning, and we’re all just choosing how to cope. Some narrators dive into hedonism and egotism, acknowledging their own rot without a flicker of guilt (“Tall Tales”). Others wave away the fear of cancellation with a wallet (“New Beginnings”). Smith’s lyrics rarely offer answers, just a series of grimly compelling snapshots from a society that’s learned to laugh while it sinks. It’s a record that questions what you reach for when you’re running out of illusions—and quietly suggests the answer might just be a little music.
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