Even when they take themselves more seriously, Yard Act are never self-serious. Despite the fact that it primarily focuses on the pitfalls of living your “dream job”—hardly new territory for a breakout band’s second album, whether self-aware or not—Where’s My Utopia? manages enough genuine pop finesse and laugh-out-loud punchlines to keep the cliché from grating. On the boisterous “We Make Hits,” Smith traces the band’s origin story, poking fun at their willingness to sell out with an anthemic, hand-clapping chorus that joyfully appropriates the maximalism of indie sleaze. (And if it isn’t an actual hit, Smith hedges, “We were being ironic.”) The more downbeat, grunge-y “Petroleum” addresses an infamous 2023 incident in which Smith turned on his unreceptive crowd during a show at the UK seaside town of Bognor Regis. It may not be the most sympathetic premise—successful rock frontman belatedly feels bad for slagging off his audience—but the song’s relentless groove and layers of Auto-Tuned vocals tell a bodily tale of the anxiety of maintaining a public image.
Where Smith is most compelling, though, is where he turns his attention to knottier subjects that resist simple resolution. On “Down by the Stream” he looks scathingly at his own history as a childhood bully over a clattering hip-hop beat. Halfway through, the song breaks open into a cavernous, beatless reflection on the cycle of abuse, bristling with confusion, anger, and regret. The record’s apex is “Blackpool Illuminations,” Smith’s spoken-word tale of a childhood injury sustained at the northern English seaside town’s annual seafront light show. At over seven minutes long, winding through jazz flute, taut funk bass, and cinematic strings, Smith’s existential magnum opus takes a whistlestop journey from his own childhood to his new role as a parent to his son.
“Are you making this up?” asks an incredulous therapist, also played by Smith, toward the end of the song. “Er, some of it, yeah, why?” he responds. Smith may have abandoned his trench-coat persona in favor of a more honest self-portrait, but the line between the authentic self and the larger-than-life character remains provocatively fuzzy.
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