When Yard Act discovered themselves embroiled in a fierce competition for the top spot on the album charts in early 2022, achieving a Number 1 album seemed like an unattainable aspiration. In a conversation with Jake Hawkes leading up to their upcoming release in March, the band is now on a quest for Utopia.
Authored by Jake Hawkes.
Captured by Derek Bremner.
Welcome back, Esteemed Reader, to a new year brimming with possibilities and opportunities. Setting the stage for us in 2024 is the sophomore album from the beloved Leeds band, Yard Act. As we delve into our discussion amidst the DIY ambiance of a lively pub, where the clatter competes with our voices, the band delves into the intricacies of their latest album, ‘Where’s My Utopia?’, a diverse and exceptionally well-crafted follow-up to their debut album ‘The Overload’ from 2022. While their first album marked a transition from intimate venues to larger stages, the second installment appears poised to elevate them to a level many bands strive for throughout their careers. Interestingly, ‘Where’s My Utopia?’ almost took a different thematic route as it was initially conceived as a concept album centered around… a U2 roadie?
“The initial version of the album was more character-driven than the debut,” James chuckles. “It revolved around a roadie who abandons his son to join U2 on tour. However, we felt that this concept was overly intricate and lacked emotional depth. It dawned on me that I was essentially crafting an album about a man who joins a band and leaves his son for complex reasons, which essentially mirrors my own experiences. Landing my dream job meant having to depart from my family, a realization that was far from the simple triumph I had envisioned over the years.”
By veering away from the elaborate U2-related narrative, ‘Where’s My Utopia?’ presents a stark departure from the thematic structure of the first album. While the opening track of ‘The Overload’ sees James assuming the persona of a traditional pub landlord urging the band to “Stick to the classics and steer clear of politics,” the new album commences with a more introspective query, ‘So, what are your thoughts?’
Nevertheless, amidst the introspection, the album retains its signature blend of surreal humor, touching on subjects like novelty fridge magnets, peculiar fish, and the unsettling prospect of being buried alive beneath a lake. Yet, tracks like ‘Tall Poppies’ and ‘100% Endurance’ from the debut are counterbalanced by a profound emotional undercurrent.
“I’ve reached a point where I’m more willing to be vulnerable,” acknowledges James. “The shift away from character-driven narratives wasn’t a deliberate choice when we embarked on the second album. The inclination towards adopting different perspectives stemmed from my discomfort with expressing my own emotions. Like many adult men attempting to undo years of societal conditioning urging us to suppress our feelings, my journey has been towards emotional openness. While my guard is still up, my approach to discussing emotions is laced with humor and a hint of standoffishness, but I’m gradually breaking down those barriers.”
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“Injecting humor at a poignant moment is akin to flipping a coin – will it relieve tension or irk the audience?”
James Smith
This interplay between light-heartedness and depth permeates the album. In ‘The Undertow,’ James questions the significance of guilt when left unaddressed, while ‘Down By The Stream’ seamlessly transitions from whimsical reflections on childhood friend Johno’s origins to a poignant confession of past cruelties endured during adolescence.
“It resonates because it’s genuine,” Ryan reflects. “The honesty in our portrayal is palpable, devoid of contrivances. Humor is an integral part of real-life scenarios, even in the darkest moments.”
“I don’t dwell on it too much,” James adds. “Humor forms the bedrock of my relationships, both within the band and beyond. It’s a natural facet of life where one can seamlessly shift from discussing weighty, authentic matters to sharing laughs over trivial, inappropriate, or dark humor. Even in moments of despair, laughter persists.
“Prior to Yard Act, I had never infused humor into my music or lyrics, and the disconnect was evident. Humor, to me, is akin to a coin toss. Dropping a jest amidst a serious conversation is akin to that coin suspended mid-air – will it diffuse tension or ruffle feathers?”
“Since ‘Fixer Upper’ unexpectedly opened doors for us, we’ve trusted our instincts.”
James Smith
Moving away from caricatures and eccentric personas has imbued the album with greater emotional depth. Yet, as the initial inclination towards a roadie-centric concept album suggests, this shift was not the primary catalyst for change. The success of Yard Act’s debut not only liberated the band from day jobs but also ushered in a demanding touring schedule, necessitating prolonged separations from home. For James, who has a young son, this trade-off prompted introspection on the transformative impact of fatherhood.
“I’ve become less sure of myself,” he confesses. “Consequently, I’m less inclined to assert the correctness of my views onto others. Becoming a parent, though cliché, has altered my perspective – fostering greater empathy and tolerance towards diverse human experiences. The certainties I once held have dissipated, and the unwavering self-assurance in personal opinions now seems daunting. I’ve grown more comfortable with ambiguity and relinquished the need for definitive answers. However, this shift has led me to focus predominantly on my own experiences and narratives. Ultimately, storytelling serves as a conduit for personal reflections, eliminating the need for veiled references.”
While the lyrical content delves into more personal realms, the musical landscape of the album traverses diverse influences, a trajectory hinted at by the expansive non-album release ‘The Trenchcoat Museum,’ serving as a bridge between the two projects. Collaborating as a quartet from the outset (in contrast to the debut, which was a collaboration between James, Ryan, and later Jay and Sam), coupled with the confidence garnered from the debut’s reception, granted the band the liberty to experiment creatively, yielding fruitful results.
“We found a harmonious rhythm as a quartet,” Jay reflects. “Each of us complements the others’ strengths and weaknesses, fostering a balanced approach to songwriting and recording. My background in record engineering also contributed to our ability to ideate and refine our concepts internally before seeking external input.”
Ryan concurs, “Building on the foundation laid by the first album, particularly with tracks like ‘100% Endurance,’ left the door ajar for the subsequent record. It introduced an element of unpredictability, deviating from the album’s overall tone and culminating in a Disney-esque conclusion, which may have caught some off guard. It felt audacious, but it paid off.”
“I recall during the recording of ‘Dark Days,’ we were adamant about maintaining a four-piece instrumental arrangement,” Sam reminisces. “However, as we progressed to ‘The Overload,’ we found ourselves layering track upon track, marking a subtle shift. This evolution didn’t commence with this record; the groundwork was laid earlier. Unlike the first album, where additional elements were incorporated during recording, Jay took the reins this time, allowing us to explore new horizons well before entering the studio.”
“Since ‘Fixer Upper’ veered off course unexpectedly, unlocking new opportunities for us, we’ve relied on our intuition,” James muses. “By the time ‘The Overload’ materialized, we had embraced a mindset of unwavering self-assurance, steering clear of replicating past successes. You can’t contrive those songs deliberately. We can’t orchestrate the creation of such tracks; the outcome is beyond our control and lies in the hands of our audience.
“While considerations of the album’s impact surface during interviews and post-release, they are secondary to the creative process. While these aspects are crucial for ticket sales, year-end rankings, and label negotiations for future projects, they do not overshadow the essence of songwriting. Amassing a collection of songs and witnessing their impact worldwide is rewarding, but this impact isn’t premeditated.”
This sense of expansion is palpable among the band members, particularly after their extensive global tour in 2023. In November alone, they graced stages in Iceland, the USA, Mexico, Thailand, Hong Kong, and Japan – a remarkable feat for a band whose initial album campaign included a homemade edit of the Sean Bean Yorkshire Tea commercial crafted by Jay on his phone. “I was rather proud of that; it might be my finest work!” Jay jests, eliciting laughter from the group.
“Performing overseas is always invigorating,” James reflects. “It’s an experience too profound to overlook, even in smaller venues. The warmth of being in a place like Baltimore and encountering fans who express their admiration for your music is truly remarkable.”
“New Orleans left a lasting impression on me,” Ryan adds. “It stands out as one of our best tour stops, despite being one of the smallest shows. Playing to a crowd of ardent fans who know every lyric is surreal. On the flip side, it can be physically taxing. In Hong Kong, for instance, my itinerary comprised glimpses of hotel rooms and stages, with minimal downtime, yet the performance itself was exceptional.”
“It was surreal, absolutely mad!” James interjects. “Why were all those people in Hong Kong swaying from side to side just because I asked them to?! I went full-on Robbie Williams at that gig; it was exhilarating.
“We’ve secured a foothold in the UK now. It’s akin to a game show – ‘you’ve conquered the UK, that’s in the bag, but are you willing to venture into the global arena?’ – and it turns out that the rest of the world is vast and distant,” he chuckles. “It’s a pleasant dilemma, but it seems like many uncharted territories are eager to experience Yard Act’s music.
“However, it’s gratifying to have attained a level of success that allows us to tour at a standard befitting every individual in the workforce,” he continues. “The music industry often operates outside the realms of human rights, making such privileges far from guaranteed. One typically endures arduous tasks for an extended period, with the hope of eventually receiving desired perks on their rider. For us, that translates to Quorn ham, hummus, eight non-alcoholic Guinness, and a splash of whiskey for Sam. That, to me, is luxury. Perhaps with the third album, we can savor a more relaxed pace, but for now, I’ll settle for the ham.”
Excerpted from the February 2024 edition of Dork. Yard Act’s album ‘Where’s My Utopia?’ releases on 1st March.
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