Picture this: a three year old band comprised of five twenty-somethings supporting The Stone Roses, at the City of Manchester Stadium before they’ve even released their debut album. It sounds too good to be true—farfetched even, but it’s the very fate that Stockport indie rockers Blossoms have been dealt. Soaring to relative fame thanks to their EP releases, it’s hard to believe that this time last year they were virtually unheard of.
Blossom’s eponymous debut was released on August 5, marking a milestone in how fortunate their short career has been so far. It kicks off with ‘Charlemagne’, the commercially successful single that really put them on the map. It’s infectious melody and unforgettable lyrics really make the track pop as much as it does. ‘At Most A Kiss’ then follows, carrying on a level of quality that’s simply unexpected for a band so young and inexperienced. Vocalist Tom Ogden has a range way beyond his years that expands momentously out of listeners’ speakers or headphones and it’s absolutely breathtaking.
Blossoms is brilliant material from beginning to end, but there’s still tracks that rank higher than others. ‘Getaway’ is one example, with a dreamy pop melody and relatable lyrics for that broken-hearted indie kid. It’s not hard to see why Blossoms are so easily successful once you really get your teeth stuck in to this album, especially when the infamous Ian Brown (of The Stone Roses) considers himself a big fan. ‘Honey Sweet’ channels the 80’s, showing off Blossoms’ influences in their own unique way but ‘Onto Her Bed’ is the most surprising— it’s more Justin Timberlake than Oasis, but still somehow manages to fit in. This album screams, “we can be diverse!” as Blossoms prove they aren’t a dime a dozen indie band.
Quite a few tracks, such as ‘Blown Rose’ and ‘Cut Me And I’ll Bleed’, have already made their debut on Blossoms’ various EPs, but it’s the brand new tunes that really make this a debut for the band themselves to be proud of, and fellow artists to be envious of. Acoustic gem ‘My Favourite Room’ will inspire the very gloomiest of souls with its magnificent summery vibes, while final track ‘Deep Grass’ is a chilled out one, once again showcasing Blossoms’ versatility.
One might want to lazily throw Blossoms in with The 1975 since they’re defying the laws of indie but still managing to sit quite happily under the label of that genre. Of course, The 1975 are doing a similar thing and have been for a lot longer, but there’s differences with Blossoms that it would be a crime not to pick out. Ogden might not have the same charisma as Matty Healy, but his humility, as a complete opposite, really sells. Blossoms are doing just fine on their own without all the cliche comparisons.