Photo Credit: Erika Kamano
Words: Ariana Boga

Named after the electricity towers Beatrice Kristi Ilejay Laus saw from her tour bus window, ‘Pylon’ is the singer’s most raw and compelling album yet, featuring 2000s grunge and punk elements that are unlike anything we’ve seen in her discography previously. Following on from the success of 2024’s ‘This Is How Tomorrow Moves’ – the singer’s third album that was heavily centred on the ever-changing realities of adulthood – ‘Pylon’ continues to delve into the complexities of trying to evolve in a world fraught with anxieties and confusion. 

The album’s title track ‘Pylon’ begins with a blissful, soft amalgamation of fuzzy guitar strings and the distant hum of electricity lines. Lyrics like “when I am somewhere, at least we’re connected like a pylon on an open road” and “you’re always worth the wait” explore the beauty of emotional connection despite physical distance. On the road, touring, and throughout life in general, Laus nurtures the idea that connection has the immense ability to span across countries, borders, and time. 

‘Sun Has Set’ proves to the listener that Laus is taking no prisoners in this new era of her adulthood. Glittering with raw grit, the track is purposeful, bass-driven, and paves its way into punk and grunge genres. Beabadoobee is skilled in taking hurt and resentment and channelling that energy into a cathartic release that almost feels euphoric, and that sums up multiple tracks on the album such as ‘In Motion’ and ‘Estranged’ that follow suit. Themes of resentment appear to continue in ‘Switchblade’ – a track that wrestles with trust issues and self-protection, asking whether you “start the fight or take the flight?”. 

Both ‘Write Me A Letter’, produced by Matty Healy and George Daniel of The 1975, and ‘It’s Alright’ hide subtle romanticisms behind electric backing instrumentation that still allow for unruliness. The two are exhilarating and contain glistening alt-rock elements that capture the excitement of new-found trust and intimacy in lyrics like “take the wheel / and drive me out to somewhere I’ve never been.”

‘Memories’ is a beautifully reflective track that features beabadoobee’s soft, detailed lyricism that makes her music so blissfully appealing. Written in solitude in her hotel room, the track is a bittersweet exploration of nostalgia and its impact on the present, with Laus wishing certain moments could be lived in forever.

Hayley Williams’ backing vocals feature on ‘Nothing To Prove’, which furthers Laus’ unapologetic and anthemic admission that severing connections with those who don’t serve her is necessary to maintain inner peace. These themes are also prominent on ‘Radio’, with its Midwest emo influences and defiance. The star-studded selection of features continues with Turnstile’s Brendan Yates on ‘Powerlines’, who’s dreamy vocals elevate the track alongside crackly guitars and vibrant production. The heavenly arrangement of ‘Spark’, co-written by Evan Stephens Hall, is beautifully retrospective and simple, yet contains incredibly heartfelt lyricism. 

The album closes out with ‘Satellite’ – the longest track, beginning with soft guitar strumming that is transportational and ruminative.  The track is an accumulation of what the album stands for – diaristic honesty and a cathartic instrumental outpour of raw emotion, where Laus opens up about the ever-changing nature of adulthood and its effect on connections with both ourselves and those around us. 

Beabadoobee is an expert at crafting a sound that resonates with her listeners yet still allows her, as an artist, to have creative exploration. ‘Pylon’ is different to anything the singer has put out before, featuring some of her strongest vocal performances and distinctive instrumentation that has allowed her to seamlessly flow between a plethora of genres and collaborate with some of the biggest names in the alt-rock scene. Its unapologetic nature and intimate, nostalgic themes are cathartic and unbelievably electric.