Fox Theater

“I’ve been thinking a lot about debutism. Why do we love debut albums?” reflects Luke Pritchard as The Kooks prepare to release their seventh album, Never Know. Eighteen years after their own debut Inside In/Inside Out, this record feels like a return to the beginning. Pritchard’s goal was simple: “The whole thing was to just forget that the past had happened,” he says. But to truly move forward, they had to reflect: “What kind of music do we want to make, and how do we make it feel natural?”

The Kooks, whose 2006 debut sold over 2 million copies, have unexpectedly found themselves beloved by a new generation. While their original fans remain, they’ve layered on a fervent Gen Z following, headlining festivals and selling out shows worldwide. Social media has made them a generations’ new favourite band again, introducing their unmistakable Brit-pop joy to fresh ears.

However, the road from global fame to this new renaissance has taken much blood, sweat and fears. “You’re always trying to renovate your band and re-inspire yourself because you don’t want to fall into a pattern or formula,” Pritchard explains. Together with Hugh Harris, the band’s core duo has mastered the art of reinvention.

Their debut was a defining moment for indie music in the 2000s, their first releases set the sound of a moment in time. There are few songs as defining of the 2000s as ‘Naïve’, but the band were never a one-hit wonder – their follow-up record, Konk, hit number one as one of four top 10 albums. The Kooks never stopped evolving, transitioning from indie rock to synthpop and krautrock influences. Over time, they’ve integrated wide-ranging inspirations—Harris’ love of soul and opera, alongside Pritchard’s classic influences like Bob Dylan and The Rolling Stones.

After years of essentially painting over the cracks through internal shifts and lineup changes, the decision to make Never Know marked a true rebuilding from the ground up. Pritchard’s reflections on debutism led him to a breakthrough: “It’s not about going back to the first album’s sound but to the roots of our influences and asking, ‘What is the identity of this band?’” It was about recapturing the debut’s energy— friends in a room buzzing with potential, pulling things together quickly and without the time or the money to overthink it.

Pritchard kept the process secret, even from the band. He presented the new songs as simple demos. The Kooks (Harris, Alexis Nunez, Jonathan Harvey) and a selection of invited musicians were told that they were just figuring stuff out, messing about, like Pritchard and Harris used to in kitchens at student house parties.

“Everyone’s defences were down,” he says, and Harris agrees, describing the process as “complete and utter ease.” He thought back on times where they’d spent endless time preparing and wasting fortunes on fancy studios, only for the process to feel stagnant or formulaic. Reminiscing about the albums that the pair first bonded over, or the ones that got him into music, he says, “My favourite records just weren’t made like that”. Instead, they were made like this; powered by raw energy.

In Pritchard, that manifests in his most interesting, yet uncomplicated songs to date. The album’s lyricism is coloured by spontaneity. There are witty one-liners and inside jokes, references to his children through sweet nicknames (on ‘Sunny Baby’), and big emotions (‘China Town’). It is a return to the ‘say-it-how-you-see-it’ fun of their earlier works as the band pulls listeners back into The Kooks’ world. The album’s title track ‘Never Know’ shows that clearly – perfect indie instrumentals of guitars, synths and driving drums, matched by lyrics that just pour out. The band resisted the urge, or outright refused, to overthink. ‘Sunny Baby’ is the proof – described as a moment where they were “flying our own flag.” Also with ‘All Over The World’, that catchy, infectious power they’ve always had is on bright and exciting display.

The result is a fresh, unfiltered take on their sound. Harris noticed his additions feeling more representative of himself than they have for a while. “I’ve been tuning back into a lot of classical music and funnelling my interest in that world into the guitar,” he says, adding that on this album, “I feel like each line is loaded with real-world of motifs,” before laughing, calling himself pretentious and admitting, “I thought Puccini was cool before I heard Jimi Hendrix.”

The Kooks’ journey began at BIMM when Harris bumped into an old school classmate on his first day at the music college – it was Pritchard. “He was playing ‘Sofa Song’ (later on that debut record). I really, really, genuinely loved the song and I wanted to learn it,” he recalls.

From that moment, their creative partnership was born – Pritchard wrote the bones of the songs, while Harris added flair. Despite early tensions, the duo’s chemistry remained strong, even as they navigated sudden fame in the 2000s indie scene.

Pritchard remembers of those early days, “I knew it was amazing. We had this kind of crazy chemistry. But it also came with tension, a lot of ego battles and tension.” It’s an atmosphere that Harris attests to, as he describes the original line-up of the band, built of four musicians each with their own strong identity and desire for control, as “a battleground for songwriting”, laughing as he confessed, “I kind of George Harrison-ed my way through that phase, that’s why I’m still here.”

But really, Pritchard and Harris are more Lennon and McCartney. When the band began, they were teenagers who navigated sudden fame together as the booming new indie scene picked them out as its darlings. “Suddenly you’re in this new world where you’re hanging out with the Gallaghers, or you’ve got Mick Jagger coming to your show and Robbie Williams saying you’re the next generation that’s gonna save guitar music,” Pritchard said. But they were also just two kids who learnt to write music together. Their creative language is a shared one, even if in breaking point moments it felt like the opposite.

At one point, they even broke up—though it didn’t last long. “We sat in a pub, broke up the band, got everything off our chests, and then got back together the next week,” Harris recalls with a laugh, highlighting their deep, brotherly connection.

Now, The Kooks have returned to their foundation — a shared vision of creating joyful, well-crafted pop music. Harris sums it up: “At the heart of it, we both want the same thing, and that’s very powerful.” For Pritchard, the album’s relaxed, unpolished feel was key to their revival: “I really feel like we’ve got our swagger back by letting things be and not making everything too perfect.”

Combat Sports is the sound of The Vaccines being The Vaccines. Their fourth album is the sound of one of the defining British rock and roll bands of their generation at full throttle, setting aside pop experiments and concentrating on what caused the rabid excitement at their arrival in 2010. Combat Sports is a record of guitars, of brevity, of speed, of breathless excitement.

“We rediscovered who we were and what kind of band we wanted to be,” says singer, songwriter and rhythm guitarist Justin Young. “We wanted to make a record to solidify that in our minds, and the minds of other people. We wanted to make the best record we’ve ever made.”

Combat Sports was born of troubled times. The band ended the campaign for their third album, English Graffiti, in a mess. Members of the band had lifestyle issues and health issues – being in the band wasn’t the fun it had once been. They were also questioning themselves and their music: although it had been a No 2 hit in the UK and won some of the best reviews of their career, The Vaccines knew what the audience wanted – and what they loved playing – was rock and roll.

“We lost sight of who we were and why we were there,” Young says. “When you’re as insecure and self-aware as me, there’s a constant process of second-guessing everything you do. I’ve brought The Vaccines into my heart again now. Being in a band is about compromise and collaboration and I think it’s coming to terms with what we are as a collective and falling back in love with that and making the best record we can for us as a band, rather than as individuals.”

Then came the departure of drummer Pete Robertson, causing the remaining trio to realise something about the group: “We decided we needed to make it fun again.” Lead guitarist Freddie Cowan and bassist Árni Árnason provided the manifesto: “The band were saying: ‘We love it when you bring in rock’n’roll songs – they’re so much more fun to play.’”

That was crucial for Young, because he realised the Vaccines needed to be a guitar band again. Specifically, they needed to be a band where lead and rhythm guitar worked together, as on their debut, What Did You Expect From The Vaccines? “With great bands, you need to be able to hear the guitar and recognise them,” he says. “Lots of people would have been learning Freddie’s licks from the first two albums – there are 11 guitar solos on the new album – we were encouraging him to play again.”

A key moment in Young realising the power of rock and roll came on a night out in a Los Angeles bar. It’s something he remembers vividly, seeing how a great guitar band could set a room alight. “The DJ played Everybody’s Happy Nowadays, and all the girls in there were dancing so intensely to it. I thought: ‘Fuck! I remember why I love the Buzzcocks – for these really sad, forlorn, dumb, catchy songs.’ And I realised rock and roll was sexy again. I’d forgotten it could be sexy.”

The group, aided by keyboard player Tim Lanham and drummer Yoann Intonti, initially as session players, set about hammering the new songs into shape through late 2016, rehearsing in south London, during which time they realised they didn’t want to be a three-piece. So Lanham and Intonti were made full members of the band, which reinvigorated the group. “You remember how lucky you’ve been – you start getting excited for the new guys experiencing things for the first time, and it breathes new life into the group. The shows in summer 2016 [at the Reading and Leeds festivals] were fucking amazing, and we bottled that feeling.” By May 2017 a total of around 80 songs had been whittled down to 11 and recorded in Sheffield with producer Ross Orton to become Combat Sports.

Orton’s work with bands such as Arctic Monkeys, M.I.A and the Fall made him the ideal candidate for what The Vaccines wanted to deliver. “When I spoke to him: he said, ‘Why don’t you just come up to Sheffield, plug your guitars in, and I promise you I’ll make a good fucking record,’” Young says. “That was in January, and I was still thinking I wanted to work with a harem of pop producers. But I realised Ross Orton would make a great modern record and the right record.

The location, too – away from home, but not somewhere where they might be distracted by turning into tourists – helped The Vaccines, allowing them to focus on making a record to define their career. “There were no friends’ birthdays we had to leave early for, or weekends away. It became all consuming.”

The result is 11 songs that go back to what the Vaccines were all about in the first place: brash, bold, rock and roll songs that mix melancholy and euphoria. “I wanted the songs to be really honest,” Young says. “I wanted Freddie and my energy to be at the forefront of all them, and I wanted that visceral urgency that got attributed to us in the early days to be present in all of them. Without being regressive I wanted to build on the musicality of English Graffiti but for the songs to be fun, upbeat, exciting and loud.” From pure Vaccines rock and roll (Put It on a T-Shirt, I Can’t Quit, Surfing In The Sky) through to powerpop (Out in the Street, which was inspired by Big Star, and Take It Easy, which came from listening to Dwight Tilley and Tom Petty) Combat Sports a record that defiantly reasserts the Vaccines’ case to be one of the great English rock bands of their time.

That defiance is reflected in the album’s title, which was thought of after Young and Cowan came to blows on the last day of recording (“We’ve never been shy of telling home truths to each other,” he says. “We’re like brothers. And brothers fight.”), but wasn’t referring directly to that. “I don’t see the title as a negative,” Young says. “On the contrary, to me it embodies survival, strength, commitment, glory, winning. We’re not just saying being in a band and making a record feels like a combat sport – we know how lucky we are. If you listen to the lyrics, we’re saying life is a combat sport. Love is a combat sport. Friendship is a combat sport. Mental health is a combat sport. But there is so much hope and positivity in the melody, and in our love affair with music, too.”

As Daisy the Great, Kelley Nicole Dugan and Mina Walker make folk-inflected indie rock that spans a multitude of moods, capable of being clever, devastating, or both simultaneously, spanning harmony-laden pop to powerhouse balladry. The pair first met as acting majors at NYU’s Tisch School of the Arts where they began co-writing a musical about a fictional band before realizing they could make it happen in real life and set out as Daisy the Great.

2017 saw Daisy the Great make an auspicious debut with “The Record Player Song,” which quickly proved an immediate smash now boasting over 250M worldwide streams and multiple viral moments on TikTok. A full-length debut LP, I’m Not Getting Any Taller, arrived in 2019, followed in 2020 by the quarantine-born Soft Songs EP. In 2021, Daisy the Great teamed with acclaimed indie-pop trio AJR for “Record Player,” a brand new song inspired by their original 2017 hit.

Having now grown into a full six-piece band currently featuring Matt Lau on guitar, Bernardo Ochoa on bass, Matti Dunietz on drums, and Brie Archer on additional vocals, Daisy the Great first heralded ALL YOU NEED IS TIME with the dazzling “Glitter. Hailed by Atwood Magazine as “a dreamy, inspiring alternative anthem to let our light shine,” the track is joined by an official music video – directed and edited by Dugan and Walker. The band also visited 90.9 The Bridge in KC for a session that NPR included in their 2022 “Sessions of The Year” list and appeared on The Late Show With Stephen Colbert’s “Late Show Me Music” series, available on the show’s Instagram, YouTube, and Facebook channels. 2023 saw the band releasing a new version of “Tell Me Have You Been Dancing” featuring vocals from indie pop artist Claud and a reimagined emo lo-fi version of their song “Glitter” titled “Glitter 2”. The band released two new songs “Looking U Up” and “Tough Kid” just ahead of their European headline tour, with more music to follow.

“Our music is generally pretty introspective, and we are often interested in the complexities or ironies we see within ourselves,” Dugan says. “That’s something we love about writing—you can say something small and delicate and true that maybe feels scary to say, but once you put it out there, it can turn into a comfort for anyone that might also be feeling that way.”