If you’re going to start a record with an intro, you’d better make it this good. “Street Boogie Confidential” does exactly that – a short, sharp instrumental statement of intent that sets the tone for everything that follows. And what follows is a band that clearly believes rock ’n’ roll should be played like it actually matters.
Savage Beat call their sound “street boogie,” and that’s about right. It’s raw, riff-driven rock ’n’ roll with the energy of late-70s punk and the swagger of a gang that probably travels everywhere together and leaves venues in pieces behind them.
“Cut To The Chase” wastes absolutely no time. “I’m an unstoppable force and I got no time to waste,” they bark, and the thing just sounds nasty. As it should. There’s a ferocity here that feels completely natural, like the band simply plugged in and went for it.
“Unhinged” does exactly what the title promises. “I bring destruction for all to see,” they snarl, and you can only imagine the state of things when they play a show. “Revved up and ready to die,” they sing – which might just be the slogan of the whole operation.
“Killer Inside” rides in on a bass groove that feels like a gang walking down the street together, and the whole thing has the swagger that would put plenty of sleaze bands to shame. But the thing is, these aren’t just filth and fury merchants. These are proper songs.
“Blood on the Knees” proves it too – boogie, attitude and a groove strong enough to make a morgue dance. It’s a beauty.
The title track, “Bright Lights, Tall Shadows,” shows the band’s hard-rock instincts for a riff. “Things are about to get worse,” they warn, and honestly who could argue? The solos here feel gloriously wild – played by people who clearly believe guitars should be swung around by the ankles.
“The Side Hustle” tips its hat to the original spirit of rock ’n’ roll – Chuck Berry would likely smile at this one – and the handclaps make it feel like a party. But beneath that is the line “I’m chasing dreams I can’t let go,” and the point is clear. This isn’t a side hustle at all. This matters.
“Worse For Wear” is apparently the only track here with an explicit tag on Spotify – quite a feat for a record this raucous – but it also boasts the best chorus on the album. Which, on a record packed with big ones, is saying something.
Then there’s “Three Chord Disciple,” which might well be the band’s mission statement. “Why should I be tamed?” they ask. Why indeed. “Three chords that’ll keep me sane.” Damn straight. There’s a solo here Phil Campbell would raise a glass to, and somewhere in the chaos you can hear the spirit of Jerry Lee Lewis rattling around too.
Closer “Tomorrow (Might Never Come)” begins with a solo – always a good start in my book – and carries the weight of the album’s themes. “Living for today,” goes the hook, and given the state of things right now, maybe that’s the only sensible option.
As the final notes ring out, the message is clear enough. Tomorrow belongs to me? It damn well should.
What’s certain is that “Bright Lights, Tall Shadows” is my favourite album of the year so far.
You can put that in flashing neon for all I care.
9.5/10
