Song Stories: Black Country New Road: Besties
The story of Black Country, New Road, is one of the most compelling narratives in modern indie rock, a journey defined by rapid ascension, sudden heartbreak, and an incredible communal reinvention.
The band emerged as the sophisticated, slightly chaotic centrepiece of the "Windmill Scene," a creative explosion centred around The Windmill Brixton in South London. Alongside peers like Black Midi, Goat Girl and Squid, they blended post-punk, jazz, and klezmer into something jagged and unpredictable.
Black Country New Road released their critically acclaimed debut album 'For The First Time' in 2021, and the record received critical acclaim as a six-track record that was bursting with ideas. With angelic backing vocals, balletic guitar lines, sax, strings, jazz breakdowns, and post-punk moments. A band that wasn't afraid to push their ideas. Masters of the slow build, everything laced with satire and wit. Not only were they good, but they also didn't take themselves too seriously.
They pushed the idea of a rock band format as far as they could go, and then ripped up the rule book and did things their way.
The Masterpiece: 'Ants From Up There'
In 2022, the band delivered their second record, 'Ants From Up There' a record that the NME described as a "future cult classic" that saw them pivot toward a sound that was more accessible without sacrificing an ounce of their musical wizardry. If the debut was defined by intensity, this collection embraced a gorgeous warmth.
The album takes the tender "Sufjan Stevens-esque" vocals first hinted at on 'Track X' and elevates them to a grand scale. On tracks like 'Chaos Space Marine', the band channels the communal power of 'Funeral'-era Arcade Fire, while the twelve-minute closer 'Basketball Shoes' sweeps majestically through delicate instrumental breaks and raging emo crescendos.
Throughout the record, Isaac Wood’s lyrics are hopelessly romantic and deeply intimate. Whether he’s obsessing over "Billie Eilish style" on 'Good Will Hunting' or lamenting being kicked out of bed for eating toast on 'Bread Song', Wood transitioned from a spoken-word post-punk architect to a generational storyteller in the vein of Conor Oberst or Jeff Mangum. It remains a stunning high on which to end his tenure.
Just days before 'Ants From Up There' was released, Isaac Wood announced his departure to prioritise his mental health. For many, his trembling delivery was the band’s identity. Instead of folding, the band carried on with multiple eras, giving vocal duties ago.
The Pivot to 'Besites'
Opening this new era is 'Besties', a track that represents a radical, brilliant departure. Produced by James Ford, who has worked with indie royalty like Blur, Arctic Monkeys, and Foals, the song ensures the band is no longer confined by their traditional roles. It is, quite simply, the great indie pop song no one expected.
'Besties' poses a challenge to the listener: do you dare to embrace a version of BCNR without Isaac Wood? This is music with an unabashedly "twee" heart, overflowing with the kind of baroque melody that a sardonic post-punk group might usually regard with suspicion.
At its core, 'Besties' carries a message that might feel "soppy" in the wrong hands: that friendship beats all else. However, in the hands of BCNR, it feels like an instrumental powerhouse at work. The joy of the track stems from their bond; their friendship informs every lyrical choice, with the doubts and decisions of a post-Isaac world eased over by those closest to them.
Violinist Georgia Ellery (also of Jockstrap fame) takes the lead here with an expressive voice and buoyant pop hooks. The track kicks off with a jittery, Baroque-sounding harpsichord overture, proof that the band remains as unpredictable as ever. Who else would mention TikTok in a song that sounds centuries old?
While the track appears to be a straightforward, technicoloured paean to friendship, Ellery’s writing adds layers of complexity, hinting at a "sliding-doors" narrative and unrequited yearning. As Ellery describes it, the song explores the "instinctual punch" of needing to be with your best friend to take on the world’s obstacles.
"'Besties' came into my world with a dance of feelings," Ellery explains, discussing the single on which she takes sole lead vocal. "It’s about the core emotion of taking on the world and its obstacles just to be with her, the bestie, again." This sense of urgency is mirrored in the music; as Ellery-led motions guide the instrumentals into place, the band reveals itself as an instrumental powerhouse.
Building the track as a six-person unit brought up a "collective of experiences," from childhood memories of writing letters and drawing maps to the adult realisation of how vital these bonds are.
The result is a brilliant piece where soft flickers of chamber pop meet a stripped-back sincerity. By focusing on a future defined by friendship rather than the hollow pursuit of fame, 'Besties' becomes as charming as it is profound, a testament to the fact that their bond is the engine that allows their musical wizardry to continue.
The journey from the sticky floors of The Windmill to the triumphant spirit of 'Besties' proves that BCNR is more than just a vehicle for a single frontman; it’s a resilient collective. By redirecting their sound, lyrics, and vocal duties, they haven't just survived; they have redefined what their music can be. While the shadow of 'Ants From Up There' remains, 'Besties' is the sound of a band finally exhaling and tackling life without their frontman.