Let’s be real for a second. Rock and roll is supposed to be loud, obnoxious, and maybe just a little bit dangerous. But lately, it feels like a lot of "rock" is just guys in flannel shirts staring at their shoes or over-produced pop songs with a distorted guitar track buried in the mix. Then you have The Struts Pretty Vicious.
When this album dropped in late 2023, it didn't just arrive; it strutted into the room with a sequined jacket and a middle finger. Luke Spiller, Adam Slack, Jed Elliott, and Gethin Davies basically decided that if the world was going to be a mess, we might as well have a massive party while it burns. It’s their fourth studio album and, honestly, it’s probably the most "them" they’ve ever sounded. They moved over to Big Machine Label Group for this one, and you can tell something shifted. The production is huge. The hooks are massive. It’s the kind of record that makes you want to drive too fast.
What People Get Wrong About The Struts Pretty Vicious
A lot of critics—the kind who wear thick glasses and only listen to indie folk recorded in a barn—like to call The Struts a "nostalgia act." They hear Luke Spiller’s voice and immediately scream "Freddie Mercury!" Yes, we get it. He has range. He has charisma. He wears capes. But if you actually sit down and listen to The Struts Pretty Vicious, you’ll realize it’s not a tribute act.
It’s an evolution.
Take the title track, "Pretty Vicious." It’s got this swaggering, mid-tempo groove that feels more like a dark smoky club than a stadium at first. But then that chorus hits. It’s heavy. It’s dirty. It’s got a bit of that Arctic Monkeys "Do I Wanna Know?" grit but injected with a gallon of glitter. People think this band is just about the "glam" gimmick, but this album proves they can write songs that actually have teeth. They aren't just imitating the 70s; they're taking that DNA and gene-splicing it with modern arena rock.
The Julian Raymond Factor
You can't talk about the sound of this record without mentioning Julian Raymond. He produced it, and his resume is basically a "who's who" of people who know how to make instruments sound expensive. Working with him gave the band a layer of polish that somehow made them sound rawer. Does that make sense? Probably not, but listen to "Too Good at Raising Hell."
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That song is a masterpiece of self-indulgence. It’s the lead single for a reason. It captures that specific feeling of being hungover but still wanting to go back out. The brass section in that track? Absolute perfection. Most modern rock bands are terrified of using horns because they think it makes them sound like a wedding band. The Struts don’t care. They know it sounds like a celebration.
Why This Album Matters Right Now
We are living in an era of "playlist music." Songs are designed to be played in the background while you do your laundry or scroll through TikTok. The Struts Pretty Vicious demands that you actually pay attention. It’s an album in the traditional sense. It has a flow. It has peaks and valleys.
"Bad Decisions" is a great example of the "valley." It’s a bit more melodic, a bit more reflective. It shows a side of the band that isn't just "party party party." It’s the "oh no, what have I done" part of the night. It's human.
Then you’ve got tracks like "Rockstar," which is exactly what it sounds like. It’s tongue-in-cheek. It’s the band leaning into the caricature that people have built for them. They know they look like they stepped out of a 1974 issue of Rolling Stone. They’re in on the joke. That’s the thing about The Struts; there’s no pretension. They aren't trying to save your soul; they're trying to make you forget your rent is due.
Breaking Down the Best Tracks
If you’re new to the band or just skimming the record, there are a few "must-listens" that define the era:
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- Too Good at Raising Hell: The quintessential Struts anthem. If you don't like this, you won't like the band. Period.
- Pretty Vicious: The title track is arguably their best "cool" song. It’s less "musical theater" and more "rock club."
- I'm Free: A cover of the Chris Montez classic that they’ve completely colonized. It sounds like it was written for them.
- Remember My Name: This one feels like a statement of intent. It’s big, it’s loud, and it’s meant to be played in a stadium.
The guitar work from Adam Slack on this record is also criminally underrated. Everyone talks about Luke, and rightfully so—the man is a force of nature—but Adam’s riffs are the bones of this album. He’s not overplaying. He’s not doing 10-minute shred solos. He’s playing for the song. In "Hands On Me," the guitar work is subtle but drives the whole thing forward.
The Reality of Being a Rock Band in 2026
The Struts are in a weird spot. They’re too rock for pop radio and too "glam" for the heavy metal crowd. But that’s exactly why The Struts Pretty Vicious is so vital. They are carving out a space for people who just want high-energy, well-written songs.
They spent years touring. Opening for The Rolling Stones. Opening for Foo Fighters. Guns N' Roses. You don't get those slots unless you can actually play. This album feels like they took everything they learned from those legends and distilled it into eleven tracks. It’s a confident record. It doesn't sound like a band trying to find their sound; it sounds like a band that has found it and is now just showing off.
Honestly, the "Pretty Vicious" tour showed just how well these songs translate live. Songs like "Do What You Want" (which isn't on this album but fits the vibe) and the new material blend seamlessly. When you see them live, you realize the "glam" isn't a costume. It's who they are.
How to Actually Listen to This Record
Don't listen to this on your phone speakers. Please.
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To get the most out of The Struts Pretty Vicious, you need some actual bass. You need to hear the way Gethin and Jed lock in together. The rhythm section on "Gimme Some Blood" is what makes the song work. It’s got this pulse that you feel in your chest.
Turn it up.
Listen to it while you’re getting ready to go out. Or while you’re cleaning your house. It’s "lifestyle" music in the sense that it improves whatever environment it’s playing in. It’s hard to stay in a bad mood when Luke Spiller is screaming about how he’s "too good at raising hell." It’s infectious.
The Verdict on the Glam Revival
Is glam rock coming back? Maybe. Probably not in the way it existed in the 70s. But The Struts are making a strong case for why it should. The Struts Pretty Vicious isn't just a great rock album; it’s a reminder that music can be fun. It can be theatrical. It can be "too much."
In a world that feels increasingly gray, we need a band that wears gold sequins and sings about bad decisions. We need the drama.
Next Steps for the Aspiring Fan
If you've read this far, you're either a fan or you're curious. Here is how you should proceed:
- Listen to the album in order. Don't shuffle. The transition from "Too Good at Raising Hell" into the rest of the record sets the tone perfectly.
- Watch the music video for 'Pretty Vicious'. It gives you the visual context you need to understand the band's aesthetic. It’s dark, moody, and very "rock star."
- Check their tour dates. The Struts are a live band first and a studio band second. The album is the map, but the show is the destination.
- Ignore the "Freddie Mercury" comparisons. Listen to Luke's phrasing. Listen to the way he interacts with the band. He’s his own entity.
- Dig into the lyrics. While they aren't writing protest songs, there is a lot of wit in the songwriting. "Too Good at Raising Hell" has some genuinely funny lines that showcase the band's self-awareness.
This isn't just another release in a crowded market. It’s a flag planted in the ground. The Struts are here to stay, and if this album is any indication of their future, rock and roll is in very capable, very manicured hands.