Calling out FIFA during GCSEs, Glastonbury Emerging Talent winner at sixteen, a runners-up number one album - the North Londoner’s humongous rise to 70s indie glam-rock stardom
By Tom Adams September 2021
"Does it seem a fever dream..."
...a line from the 2019 anthem, British Bombs (based upon the English hypocrisy of arms exports) and the outcue song of McKenna’s current tour, echoed a fitting mantra for the past year as a euphoric crowd erupted into a vigorous mosh pit during last night’s exhilarating performance at yet another sold-out venue. Now exempt from Coronavirus restrictions - with the proof of a negative result - meant a full Sheffield O2 Academy could, eventually, passionately belt out the name of their generation-Z hero in high spirits once again.
Coincidently, you could say the same for the 22-year-old, as he characteristically inspired what was another ecstatic crowd treated to almost his entire musical discography (in addition to playing to Reading & Leeds, TRNSMT, Latitude festival, as well as the other nineteen gigs performed since August) in his uniform Bowie-like eye make-up and bright 70s attire. Evidently, it’s been a busy summer for the Enfield-born popstar, especially following an emotionally testing couple of years since the release of his second album ‘Zeros’, of which experimentally incorporates a number of dynamically powerful choruses in comparison to his calmer, yet equally as politically-driven, debut album ‘What Do You Think About The Car?’ in 2017.
It must feel a lot like a fever dream for McKenna himself right now, as someone who just seven years ago was writing his first single ‘Brazil’ in his bedroom instead of revising for his GCSEs, to then performing the song in collaboration with fellow indie-rock artist Sam Fender on the main stage at Leeds festival this year, moments after entering on a bicycle to rapturous chants of “ohhh Declan McKenna”. Clearly his infectiously loving personality is finally earning the popularity he so incredibly deserves, and with such an impressive accumulation of achievements since his rise in the music scene since 2016, it’s no surprise seeing him thrive in such celebrated musical contexts. It almost seems too unbelievable to be true, but with thousands across the country screaming his thought provoking lyrics at his gigs, festivals or even a socially distanced party, his futuristically-dystopian 70s rock sound fused with political critique is one that everyone really should hear.
Declan’s rise within the music scene began with his still most popular song ‘Brazil’ written months before turning sixteen. Now with over 183 million listens on Spotify, the confrontationally-poetic protest song aimed at the still relevant corruption of FIFA (supposedly existing as football’s major governing body) amid the 2018 World Cup is still gaining affection. McKenna’s second single ‘Paracetamol’ inspired yet more of his positively progressive mindset with an emotive message based on the tragic suicide of a transgender girl from Ohio (Leelah Alcorn) following the rejection of her identity from those that were meant to have loved her. The song became a wider symbol for the representation of the LGBTQIA+ community and how they are so commonly ignorantly misrepresented by the media. His fearlessly heartfelt lyrics contributed to him becoming Glastonbury Festival’s Emerging Talent winner, oh and just the thirty record companies or so who were cueing to sign him.
Fast-forward a couple years to the release of his debut album - with its title derived from a homemade voice recording of a four-year-old Declan that opens the album - features popular songs such as ‘The Kids Don’t Wanna Come Home’, which challengers pre-determined assumptions of the younger generation Declan represents so well, in addition to ‘Bethlehem’ which aims to defy religious prejudice, and ‘Isombard’ based upon the domestically dominant right-wing TV media coverage (which ironically ended up earning itself FIFA 17 soundtrack status) as just a few. And finally the last song of the album, ‘Listen To Your Friends’, which takes on the incompetence of those in power surrounding major contemporary issues such as climate change and poverty, to which collectively crowned him winner of the BBC Introducing Artist of the Year following what was a major breakthrough year.
Finally, three years and a global pandemic later, Declan released his second album ‘Zeros’ in 2020, the masterpiece now being given the tour time it deserves, reiterating his deep-thinking nature to title his work as something far simpler and less extravagant than it deserves. Yet, the album maintains the raw emotions of chaos and fear attached to a disenchanted generation, as the songs take on themes of capitalism and dehumanisation to a catchy Beatles-like rhythm, with the album title hinting at the lack of political change being enforced. One of McKenna’s biggest hits ‘Be An Astronaut’ emphasises hope as it quickly transitions from a sad ballad to a jaunty conclusion (especially when performed live with an extended piano solo), in addition to the album’s most melodious track ‘The Key to Life on Earth’ incorporating a stimulating 70s-indie-rock mashup in loud, yet typically charming, direct Declan McKenna style.
Today the energetic, mullet-wearing, popular singer-songwriter enthusiast is continuing to showcase his talent, and having plenty of fun as he does it. As his Zeros tour edges closer to its denouement, it’s an appropriate metaphor to epitomise how far Declan has come since his late teenage years.
Now with a bold experimental change in music style, a fittingly retro glamorous look, and with still so much to offer. In subtle correlation to the title of album one, the line from the opening song of Zeros, ‘You Better Believe!!!’ indicates this is an artist who is not only transforming himself, but is finally beginning to see his work be noticed as he opens the album whilst fittingly howling “what do you think about the rocket I built?”
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