There’s something undeniably thrilling about discovering a band that feels both familiar and utterly fresh. Westside Cowboy’s debut album, It Goes On, is one of those rare records that manages to pull off this delicate balance. On the surface, they’re drawing from a well-worn playbook—indie rock’s greatest hits, if you will. But what makes this particularly fascinating is how they breathe new life into those old tropes. It’s not just about recycling sounds; it’s about reimagining them with a raw, unbridled energy that feels almost infectious.
Take their single ‘Pin Up Boys,’ for instance. Personally, I think this track is a masterclass in tension and release. It starts with Reuben Haycocks’ muttered vocals and a sparse, almost hesitant guitar line. But then—and this is where it gets interesting—the band explodes into a cacophony of sound, like a controlled chaos that somehow feels both deliberate and spontaneous. What many people don’t realize is that this kind of build isn’t just about dynamics; it’s about emotional storytelling. The song doesn’t need to spell out its meaning—it feels it, and that’s what makes it so compelling.
What this really suggests is that Westside Cowboy understands the power of restraint and release, a lesson many bands take years to learn. They’re not just throwing everything at the wall; they’re crafting moments that stick with you long after the song ends. If you take a step back and think about it, this is a band that’s barely three years old, yet they’re already operating with the confidence of seasoned veterans.
One thing that immediately stands out is their ability to blend influences without becoming a pastiche. Yes, you can hear echoes of Pavement, Wilco, and even the Velvet Underground, but it never feels like they’re cosplaying as their heroes. From my perspective, this is because they’re not just borrowing sounds—they’re borrowing the spirit of those bands. There’s a recklessness, a joy, and a sense of discovery in their music that’s impossible to fake.
This raises a deeper question: What does it mean to be original in 2026? In an era where every sound has been explored, maybe originality isn’t about inventing something entirely new. Maybe it’s about how you feel the music, how you make it your own. Westside Cowboy’s approach feels almost defiant in its simplicity. They’re not trying to reinvent the wheel; they’re just spinning it faster, with more passion and urgency than most bands today.
A detail that I find especially interesting is their democratic approach to songwriting. All four members take turns on lead vocals, and there’s no clear frontman. This one-for-all dynamic isn’t just a gimmick—it’s a philosophy. It’s as if they’re saying, ‘We’re all in this together,’ and that unity translates into their sound. It’s messy, it’s loud, and it’s undeniably alive.
Of course, comparisons to Geese are inevitable. Both bands share a producer, a love for angular guitar riffs, and a penchant for frenzied energy. But here’s where they diverge: Geese have a certain cool, detached glamour, while Westside Cowboy feel like the scrappy underdogs with hearts on their sleeves. Their melodic simplicity, which they attribute to folk influences, gives them a warmth that’s downright wholesome. It’s like they’re inviting you into their world, rather than keeping you at arm’s length.
What makes It Goes On so remarkable is its ability to balance chaos and beauty. Tracks like ‘Well Done Kid, You Did It’ and ‘Paper Chains’ are perfect examples. They’re chaotic, yes, but there’s always a moment of stillness, a delicate melody that cuts through the noise. It’s in those moments that you realize this isn’t just a band trying to make a statement—it’s a band trying to connect.
In my opinion, this is what music should do. It should make you feel something, whether it’s joy, nostalgia, or even confusion. Westside Cowboy doesn’t have all the answers, and that’s part of their charm. They’re still figuring it out, still experimenting, still excited by the sheer possibility of sound. And in a world where everything feels so polished and calculated, that kind of raw enthusiasm is a breath of fresh air.
So, is It Goes On the future of indie rock? Maybe, maybe not. But what it definitely is, is a reminder of why we fell in love with music in the first place. It’s messy, it’s loud, and it’s alive. And sometimes, that’s all you need.
