It was 2003. Nu-metal was starting to feel a bit heavy and grey. Then, out of Lowestoft, England, came four guys in spandex jumpsuits. They had long hair, high-pitched vocals, and a total lack of irony. When The Darkness Believe in a Thing Called Love dropped, it didn't just climb the charts; it felt like a glitch in the Matrix. It was loud. It was ridiculous. It was exactly what music needed.
Honestly, at the time, people didn't know whether to laugh or headbang. Was it a joke? Justin Hawkins was hitting falsetto notes that seemed physically impossible for a human male. The guitars sounded like they’d been ripped straight out of a 1974 Queen rehearsal. But here’s the thing: it wasn't a parody. It was a love letter to rock and roll.
The Ridiculous Brilliance of the Song's Construction
If you strip away the jumpsuits, you’re left with a masterclass in songwriting. Dan Hawkins, Justin’s brother, is the secret weapon here. While Justin is the flamboyant frontman, Dan is a riff machine. The opening lick of The Darkness Believe in a Thing Called Love is iconic. It’s clean, it’s punchy, and it uses a classic Gibson Les Paul through a Marshall stack sound that’s impossible to hate.
Most people focus on the chorus. Obviously. It’s a massive, soaring hook. But listen to the pre-chorus. That rhythmic chugging—the "touches, touches"—creates this tension that only breaks when Justin screams. It’s basic tension and release, but done with such flair that it feels fresh every single time you hear it at a wedding or a dive bar.
The solo is another story entirely. It’s dual-lead guitar work. It’s Thin Lizzy meets AC/DC. There are no "cool" indie vibes here. It’s pure, unadulterated shredding. They recorded the Permission to Land album at Chapel Studios and Sarm Hook End, and you can hear the high-end production value. They weren't lo-fi. They wanted to sound like the biggest band in the world, even if they were recording in a barn in Lincolnshire.
That Music Video and the Space Squid
We have to talk about the video. If you haven't seen it recently, go back and watch. It’s got everything:
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- Spaceships that look like they're made of cardboard.
- Justin Hawkins wearing basically nothing.
- A giant alien squid.
- Random pyrotechnics in a confined space.
It looked cheap because it was supposed to look like a B-movie from the seventies. It captured the "glam" aesthetic without the multi-million dollar budget of a Queen or David Bowie production. It was camp. It was kitsch. Most importantly, it was fun. In an era where rock stars were supposed to be moody and stare at their shoes, The Darkness were pointing at the sky and screaming about heartbeats.
Why People Thought They Were a Joke (And Why They Were Wrong)
The biggest misconception about The Darkness Believe in a Thing Called Love is that it’s a "novelty" song. People put it in the same category as "The Cheeky Song" or something by Spinal Tap. That’s a mistake. Spinal Tap is a comedy troupe playing musicians. The Darkness are musicians who happen to be funny.
Justin Hawkins has often spoken about how they were "deadly serious" about the music. They grew up on Led Zeppelin and Aerosmith. They practiced until their fingers bled. When you play a song that technically difficult, you aren't joking. You're showing off.
The industry didn't get it at first. They were rejected by almost every major label. They had to sign to an indie label, Must Destroy, before Atlantic finally picked them up. Critics were divided. Pitchfork, notoriously prickly at the time, gave the album a surprisingly high score, recognizing that while the trappings were silly, the craft was undeniable. You can't fake that kind of chemistry.
The Falsetto Factor
Let’s talk about the voice. Justin’s range is absurd. He’s a natural tenor who can push into a whistle register. In The Darkness Believe in a Thing Called Love, he hits a high G#5. For context, that’s higher than most soprano singers ever need to go in a standard pop song.
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He wasn't using Auto-Tune. This was the early 2000s; while pitch correction existed, it wasn't the "sound" of rock yet. That was all him. He actually struggled with vocal nodes later because of the sheer strain of performing these songs night after night. It’s an athletic feat.
The Cultural Legacy: From Guitar Hero to Commercials
The song didn't just die out after 2004. It had a massive second life. It became a staple on Guitar Hero, which introduced a whole new generation to the riff. Suddenly, kids who weren't even born when the song came out were trying to master that opening pull-off.
It’s appeared in countless movies and commercials. Why? Because it’s the universal "party" trigger. It signals to an audience that it’s okay to stop taking things seriously. Apple used it in a Siri commercial with Taylor Swift. It’s been covered by everyone from choir groups to death metal bands.
Permission to Land went 4x Platinum in the UK. That’s over 1.2 million copies. In the US, it reached Gold status. For a British band playing "retro" rock in the middle of the hip-hop and garage rock revival era, those numbers are staggering. It proved there was a massive hunger for theatricality.
What You Can Learn From Their Success
There is a real lesson in how The Darkness Believe in a Thing Called Love became a hit. It’s about commitment. If they had winked at the camera or acted like they were "above" the costumes, it wouldn't have worked.
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They leaned in. Hard.
- Be unapologetic. If you love something that isn't "cool" right now, do it anyway. The Darkness loved 70s rock when everyone else was into The Strokes. They won because they were the best at their niche.
- Technical skill matters. You can be as funny as you want, but if the song sucks, people stop listening after one play. The reason this song is still on the radio is that the musicianship is elite.
- Visuals are part of the story. The image of Justin Hawkins in a silver catsuit is burned into the collective memory of the early 2000s. It made the music unignorable.
The Technical Rig Behind the Sound
For the gear nerds: Dan Hawkins mostly used a 2000 Gibson Les Paul Standard. He’s famously said he doesn't use many pedals. It’s mostly the amp doing the work—Marshall 1959 Plexi reissues. That’s where that "honk" comes from. It’s a mid-heavy sound that cuts through a mix like a knife.
Justin used a similar setup but often leaned into more gain for his solos. They didn't use many effects, maybe a bit of wah-wah here and there, but the core of The Darkness Believe in a Thing Called Love is just wood, wires, and a lot of volume.
The Modern Revival
Interestingly, the band is arguably more popular now than they were ten years ago. Justin Hawkins has a massive YouTube channel where he breaks down music theory and industry trends. He’s become a sort of elder statesman of rock.
They recently did a 20th-anniversary tour for the album. They sold out venues across the globe. People weren't there for nostalgia alone; they were there because the songs actually hold up. When they play that opening riff, the energy in the room shifts. It’s a collective release.
Your Next Steps to Rediscover The Darkness
If you only know the one song, you’re missing out. Here is how to actually dive into their catalog without getting overwhelmed.
- Listen to "Love is Only a Feeling." It’s their attempt at a massive power ballad. It’s got acoustic guitars, soaring leads, and is arguably a better "song" than the hit.
- Check out "Gillingham" or "Black Shuck." These show their heavier, almost proto-metal side. "Black Shuck" is based on a local East Anglian legend about a demon dog. It’s fantastic.
- Watch the live footage from Knebworth or Reading Festival. That’s where the band truly lives. The studio recordings are great, but the live show is a spectacle of sweat, high notes, and handstands on drum risers.
- Explore Justin's YouTube channel. If you want to understand the "why" behind their music, his breakdowns of other artists' songs reveal just how deep his musical knowledge goes. It’ll make you respect the "stupid" rock song a lot more.
The reality is that The Darkness Believe in a Thing Called Love wasn't a fluke. It was the result of a band knowing exactly who they were and refusing to change for a cynical industry. It’s a reminder that sometimes, the most "authentic" thing you can do is put on a cape, crank the amp to eleven, and scream your head off.