by alex grainger
photo by paula trojner
49th & Main just dropped their latest project Must Be Nice on July 22nd. The rising indie-pop Irish duo is composed of producer Ben O’Sullivan and vocalist/multi-instrumentalist Paddy King. Must Be Nice takes us through the trials and tribulations of youth in a coming-of-age movie soundtrack. The narrative submerges us deeper in what the band states is “wasted youth evoking both solace and joy in the pursuit of reconnecting with yourself and humankind.” A loaded and vulnerable project, one that takes us on a rather upbeat version of these relatable formative moments. Must Be Nice follows their debut project Neon Palm Trees, hit lo-fi release “Catching Eyes” and their COVID mixtape rodeo doors (COVID TAPES). Must Be Nice comes as the duo continues to explore genres and their sound as artists. Although, I would argue this 7-track project holds a steady electronic-pop sound, one which they experiment with during its duration. So, let’s dive into this sonic coming-of-age experience of artists who are just figuring it out both in life and in music.
Must Be Nice begins with “Up To Something,” which the duo dropped ahead of the EP’s release. “Up To Something” sets the project off with an intoxicating steady beat, one which mirrors the long night the band takes us through. The unwavering drum is countered with layered instrumentals creating a smooth melodic sound. A clever break in the song comes with the airy, lighthearted tone backing the lyrics of the bridge “Ahh ahh my head space / The way my thoughts be going these days / Can’t stop won’t stop I’m gonna be ok / But you keep coming around / Feel like breaking me down.” But one aspect of the song I would like to note is how the vocals seem to be overlayed by the beat. The beat is the song for me, specifically the drum, everything else is secondary. Circling back to the coming-of-age soundtrack we were promised “She thinks I must be up to something / Cause on weekdays, I’m out to 6am just doing cocaine / And you keep calling me home / Feel like breaking my phone / I’m on my own," a striking scene is pictured. The song seems to be reflective of hearing the drumming and pulse of your heartbeat pounding in your ears on one of those long, sleep deprived, intoxicated nights that the band unmistakably sonically takes us through.
“Human Condition” is the second track, one that was also released prior to the EP. “Human Condition” loses the harsh steady beat consistent in “Up To Something,” and is considerably more lyrical. With an intro that was made to be the hit radio pop song of the summer, this track launches us deeper into the narrative of this coming-of-age journey. The pop sound is accompanied with various sonic shifts aiding in the flow of the song, from the pre-chorus riff and ticks to the atmospheric solos leading into the final chorus. The band mentions how this track is all about “simply being human.” I find the different segments and sounds to represent all the different parts of being human and how they come and go.
Coming in as track three is “Never Gonna Stop,” and I have a lot to say about this one. The song leads with a bit of intrigue, where I legitimately turned my ear closer to my computer, as I imagine all inquiring minds would naturally turn an ear up to a whisper. The first few moments of the song are raw and a brilliant contrast to the electronic dance music which plays out the rest of the song. The piano riff and gentle light vocals lead into a track that is meant to be heard in a club. The loopy tune repeating “never gonna stop loving you,” is one that certainly fits the soundtrack to back the coming-of-age party scene that is overtaken by the euphoria of this dance tune. I must admit I was a little skeptical of how I thought the song would fit within the greater composition of the EP. The EDM, house music vibes, while they are present throughout each track, I wasn’t sure about an entire song dedicated to it. However, upon listening to the project a few times through I think it’s a song which showcases the talent of the duo as it’s a deeper dive and experimentation into one of the main tones of the EP.
Track four “Streetlights” opens with an ominous intro before sliding into the notable electronic drum beat heard throughout the duration of the EP. The fast-paced beat brings you right along through the lyrics of what I interpret as falling for this girl, “Cause it feels like paradise, When I’m with you.” The song pulls back into the first track “Up To Something” with the alcohol and drug references, “Yeah we can get lost tonight, Smoking straights under streetlights / We can find peace of mind, At the bottom of six pints / Show me where you get High, All alone in the moonlight.” The beat dissipates for a distorted guitar solo and a bold drum buildup to spill over into the final verse.
“Tom,” track five caught me by surprise. The sound of a ukulele standing out like a sore thumb among an EP with such electronic and hard defiant beats. The ukulele, whistle riff, and quick snippets of birds chirping gives off Vance Joy, vacation by the seaside vibes as opposed to the edgier vibe I picked up off the previous four tracks. Cleverly, the song switches from a glaring ukulele sound to one that is an ukulele infused electronic beat, one that I found worked perfectly to tie this track to the rest of the EP. “Tom” is sonically the lightest offsetting the more serious, self-deprecating lyrics of being in your head, thinking why did I do this, how did I get to this point in my life. Coming to the moment in our youth where we all must face our decisions and think about where we go from here, reflective in the lyrics “And his thoughts eat him inside / And it’s just that type of night / Yeah it’s just that type of night his thinking, / Why ohh me ohh why, did I waste my younger life, well I guess I never tried and I guess I’ll / never know keep drinking.” The song ends on an interesting note of what sounds like digging through your pocket of change, tying together how the character Tom is supposedly broke, “Knows he’s got to make some money / Broke won’t do this time.” Well done.
Next up, my personal favorite, “Dillinger” track six. I found this song to fit the duo best. It has the smoothest vocals, the grooviest rock-esque guitar (a riff I will be teaching myself how to play immediately). It very much reels the EP back in to the starting sound, one where we find that persistent drum carrying through in the background. An edgier song, to an already edgy project. The confident sound coincides with the confidence found within the main character, “Got my dirty jacket on, yeah I’m feeling myself,” and of taking control of your world, “Cause there’s a big bad world at your footstep and when the moment hits right yeah it’s best / felt.”
Must Be Nice closes with “No Sleep.” This final track is the slowest and softest with atmospheric instrumental sound backing the vocals. The electronic beats which compose breaks between verses coincide nicely with the overarching sound of the EP. The outro is very confident and defiant, a sure beat. The outro also reminds me a little of track 3 with a similar club like beat. The abrupt cut off is an amazing end to the EP. The song is really reflective of youth and its freedom, in both the sure sound and lyrics, “Yeah I be loving night, / And freedom.”
Roll the credits. Must Be Nice is truly an outstanding project showcasing the talented Ben O’Sullivan and Paddy King. The two have just signed a global record deal with Counter Records, an imprint of Ninja Tune. From two people who started music with no intention of ever going anywhere they have surely made a name for themselves and solidified their place in the industry. In the endless ways to capture the essence of youth, the two have done it in a transparently real and sonically addictive project. Must Be Nice is a sonic coming-of-age experience I would take part in any time or day.