The highly anticipated debut album from rising stars Only The Poets has finally arrived, and it’s safe to say it’s an instant favourite.

Having played their first show together all the way back in 2018, it has taken Tommy, Marcus, Clem and Andy on quite the journey to reach the point of releasing a full studio album. Enduring a global pandemic, balancing part-time jobs while chasing their dreams, and gaining a huge audience almost overnight while touring with Louis Tomlinson, the band have persevered. A testament to their development and sheer work ethic over almost a decade, And I’d Do It Again may be their first album, but it carries a level of maturity rarely found in a debut.

Opening with the title track, And I’d Do It Again, an instrumental piece, it immediately feels destined to soundtrack the opening moments of a sell-out show as the band emerges onto the stage. Gentle strings and what sounds like a cassette clicking into place kick off the album, before a 1975-esque transition of building synths layered over casual background chatter gently draws you into the 14-track run. The album title neatly packages the sentiment behind the many trials and tribulations the band has faced to reach this point. To never regret the experiences that shaped you, and to accept that every failure and tough day would be worth reliving if it led you here.

Emotionally Hungover is the first of several singles released in the build-up to the album. Shimmering guitars, a subtle rhythm section, and light, spacious production lean fully into the indie-pop sound the band has refined so perfectly over the years. Repeatedly praised for their lyrical vulnerability, the bright sonic palette is paired against the sobering reality of waking up to feelings you wish you didn’t have to face. The empty ache and emotional fog that follows emotional escapism ultimately leaves you feeling more alone and dulled than before.

The album as a whole thrives on contrast. Bright melodies mask heavier emotions, and polished indie-pop hooks are underpinned by reflective, often slyly devastating lyrics. Clean guitar lines, restrained synths, and tightly controlled percussion create an atmosphere that feels intimate and lived-in, allowing the weight of the songwriting to take centre stage. Saké offers a more restrained version of the band than expected, with soft vocals set within a hazy soundscape that pulls you into something sneakily captivating. You Hate That I’m in Love breezes through the early tracks with characteristic indie-pop energy, its bright guitars and tight rhythm section contrasting sharply with angsty lyrics aimed at a past love who chooses bitterness over amicable distance.

One of the most gentle moments on the album, Madeline presents a noticeable shift in pace. Light production and soft instrumentation sit delicately beneath a controlled vocal delivery, reflecting on the vulnerability of falling for someone while fearing the possibility of causing harm. The intentionally light touch pulls you into a track that feels intimate and sincere, something the band have always delivered so effectively, both on record and on stage.

Just beyond the midpoint of the album, Freeze feels destined to become a fan favourite. A bass-heavy, thrumming chorus echoes the desire to live inside a moment forever, as though freezing a memory could preserve the feelings it evokes. There’s a heavier edge here that marks a subtle but exciting shift for a band primarily known for lighter tracks. It dips into darker territory and leaves you wishing this sound had been explored for longer than just over two minutes.

Say pulls the album back into more familiar territory, fast-paced, energetic, and emotionally charged. It captures the desperation of wanting to be missed, to still matter to someone who feels just out of reach. Driving guitars and urgent vocals give the track a restless quality, perfectly mirroring the yearning at its core.

Release week is set to be one for the books as the band embarks on an impressive run of album signings across the UK, alongside a headline show at O2 Academy Brixton that has already garnered widespread attention. Speaking openly about the rising cost of attending live music, the band sparked an important industry conversation by selling tickets for just £1. The show sold out in ten minutes, with proceeds going directly to the LIVE Trust, which supports inclusivity and grassroots venues. By also inviting aspiring music photographers to capture the night, Only The Poets have chosen to use their platform not just to celebrate themselves, but to highlight the changes they want to see.

Perhaps a surprising palette cleanser towards the end of the album, Bad leans back into the heavier edge. Forceful guitars and building instrumentation lead into a chorus that captures pure frustration, the feeling of never quite getting things right, no matter how hard you try. Fan favourite I Keep On Messing It Up rightfully earns its place as the penultimate track, before the album closes on Guess She’s Cool. Stripped back and quietly reflective, the final song feels less like a conclusion and more like acceptance. There’s a sense of emotional release in its restraint, allowing the album to end not on a dramatic high, but on a note of sincerity and calm.

For a debut album, And I’d Do It Again feels remarkably self-assured. It’s a record shaped by patience, growth, and lived experience. One that never rushes its moments or undercuts its emotions. Only The Poets may be releasing their first album, but it already sounds like the work of a band who know exactlywho they are.

- written for That Fangirl Life