Slaughter Beach, Dog
Saturday, January 18, 19:30
adv £12 + booking fee
9pm Slaughter Beach, Dog
Across the previous Slaughter Beach, Dog albums, Jake Ewald has crafted a specific sound. It’s one that
incorporates pop music, indie-rock, folk, and just the faintest dash of punk in order to create something
that’s accessible but still artistically rich. With Safe And Also No Fear, the band’s third album, Ewald has
abandoned his usual practices in service of creating something that, try as one might, isn’t so easy to
In the wake of 2017’s Birdie, an album awash in warm tones and bubbly pop hooks, Safe And Also No
Fear can’t help but feel like a turn toward darkness. It’s not one that’s instigated by the outside world—
as inescapable as it may be—but instead the dramatic shifts of a person’s interior life. Where Ewald once
offered tightly woven vignettes about characters that mirrored the people in his life, Safe And Also No
Fear finds him naked at the album’s center, questioning everything he knows about himself. Around him,
bassist Ian Farmer, guitarist Nick Harris, and drummer Zack Robbins spin out songs that are dense,
swirling amalgams of difficult questions and hard-earned realizations—the kind that can’t be expressed
through the accepted structures of pop music.
This isn’t to say there aren’t hooks, as songs like “Good Ones” and “One Day” have effervescent melodies
anchoring them, but Safe And Also No Fear generally avoids taking the clear-cut path. As Ewald tells it,
that’s a horrifying thing to put out into the world. After putting the finishing touches on the album, he
sat down and listened back to the demos he’d first made, then the album itself, and realized it sounded
unlike anything he’d ever done before. His creative impulses had changed over the years, and the result
was a record that maybe his followers wouldn’t actually like.
Ewald seemingly addresses this anxiety during the album’s most ambitious track, the seven-minute long
“Black Oak.” It’s fitting that midway through the longest song Ewald has ever written he offhandedly
remarks, “Realizing this may put my career on the line.” It’s part of a larger narrative, but one that’s more
textural and ambiguous than what the band has been known for. Is that lyric about Ewald and Slaughter
Beach, Dog? We’ll maybe never know—and that’s the beauty of Safe And Also No Fear. It’s an album so
profoundly singular, one that sees the band willing to wade out into deep waters without a life vest, that
it encourages you to go out there with it. You hear the band fully embrace the unknown at the end of
“Black Oak,” when the song explodes open and Ewald’s vocals are looped into a refrain that’s haunting
and impossible to sing along with accurately. You can pick out phrases and hum a melody, but there’s no
didactic meaning behind it. It’s there for you to find if you need it.
Safe And Also No Fear is a bold gesture, not just because of the music contained therein, but because it
required Ewald to interrogate his artistic tendencies, breaking himself of his habits in service of making
something he never thought he could. That involved trusting his band, with whom Ewald collaborated
for a full year of writing and recording. Unlike Birdie, where Ewald played every instrument, with Safe
And Also No Fear everyone’s fingerprints are on it. Though the album is a product of Ewald committing
to his vision, it’s also proof of the way that Farmer, Harris, and Robbins are able to expand Slaughter
Beach, Dog’s sonic boundaries in subtle, evocative ways.
The Lexington is an 18+ venue - please bring ID!