Before I say anything else: if you are not already on the Broadside train, let this be the album you get on.

Pop rock band Broadside released their fifth studio album Nowhere, At Last on April 10. This is the follow-up to their 2023 release Hotel Bleu. This album finds the band exploring a similar pop rock sound of their previous record while also expanding their sound. It has the common driving and heavy drums and killer guitar riffs that are found on your favorite pop punk and rock tracks.

These can be found on the title track and “Blissed Out”. However, Broadside also adds in groovy, almost jazzy bass lines to tracks like “Control Freak” and “I Think They Know”. They also experiment with some cool electronics and synths like on “Mushroom Cloud” and “What Are You Leaving Behind?” that takes the record to the next level. And we can’t forget moments on tracks like “Dead Roses” that have a gospel or choral-like vocal moment which adds to the overall theme and story of the album. 

You may be asking what story and theme that Broadside is telling on the album. So, let’s break this story down track by track.

The album opens with “Cherry Red Ego Death”. This groovy track has a sassy sound that makes you want to bounce. It also is a very strong opening that sets a good foundation for the album’s theme. Vocalist Oli Baxxter sings, “you say I’ve become unlovable, waiting on somebody to rescue me/always thought I was unbreakable/till the weight of who I’ve been was crushing me”. We can infer he is singing about his partner who is talking to him about how they have noticed he has changed. He is consumed by his own expectations, as well as who he is expected to be for others. This could be expectations set by his peers or maybe the expectations as a musician and having to perform for his fans. This feeling of wanting to please others is highlighted later on when Baxxter sings, “You know I love to feel like this/the pressure of acceptance and the burden of its kiss”.  He craves the acceptance and love of others, which is causing issues in his relationship. 

As we transition to the title track, “Nowhere, At Last”, we find Baxxter pondering life and wondering what the point of everything is. He sings, “I think the end is getting closer/Pretty soon I’m gonna break/but life is only a reminder/that there’s no value in a name”. He has been chasing his goals of success and acceptance but realizing that it all may mean nothing. You can’t take all your success and money with you when you die, so why bother chasing it?

“Warning Signs” and “Control Freak” are two tracks that go together in my opinion. “Warning Signs” talks about ignoring the red flags someone may present. You are chasing after someone and you know they are bad for you, but you do not care. This is a very polished song that makes you want to dance. It is very easy to sing along to, and I am sure this song goes hard live. The beat sounds very much like a pop song. The drums and guitar are more subdued during the verses, popping ever so slightly during the chorus. However, they are not “in-your-face, feel-it-in-your-bones” like you may get on some of the band’s more rock-heavy songs. 

“Control Freak” moves in an edgier direction with a slight groovy feel. The guitar lines are rolling and repetitive, building up the anxiety and anticipation. However, the bass line is fun and heavy, giving it that dance-feel that is laced throughout the project. Baxxter’s vocal delivery is vengeful and angry as he sings about someone wanting to control him: “Thеre’s been too many decisions being made on my behalf/I’ve been staring out the window/you sit back and watch me crash”. Now, it is not clear if this is a single person, like perhaps the person from “Warning Signs” or a metaphorical person. Baxxter could be singing about a company, like a music label, or maybe his own mind. Either way, this song gives the feeling of anxiety and anger. In the background we hear what sounds like newscasters talking about someone pulling the strings of other people’s lives. The vengefulness is capped off with a breakdown at the end where Baxxter lets out all his anger backed by in-your-face drums you can feel in your bones. 

“Dead Roses” seems to be a turning point. This song finds the band bringing a bit of hope. On this track, Baxxter sings about taking accountability and wanting to make some change. On the chorus he sings “I should stand up to myself more/try to let go of my own war/been destroying myself/I got no one else to blame”. The production on this one is huge, especially at the end. The majority of this song is tight, including loud and fun guitar lines with steady, pounding drums. They are dimmed in the verse then rise for the chorus, but that all changes after the second chorus. The bridge has driving, fast drums that build to Baxxter letting loose on a long note right before the final chorus. Then he transitions to a mix of a gospel-like moment with him screaming the same lyrics in the background, showcasing the dichotomy of wanting to feel hope but still letting the anger consume you. 

The band returns to doubting themselves on “Someone You Need”. This song talks about how they wish they could be the best person for their partner. However, they are not who they used to be: life has hurt and changed them. So, while they are ready for change, they need time to grow and make change to be the person their partner deserves. Then, we do a 180 with “Mushroom Cloud”. This song was meant to be screamed in a pit while moving and grooving. This song feels like Baxxter is just singing into the sky. He is ready to escape the world, pleading for his love to drive far from everything and escape the horrors of the world. The world is going up in flames, but they can run away and be together. This song is heavy on the synths and has a fun toe tapping beat. The flow of the lyrics and beat just scratches an itch I cannot explain. The production is just fun. The bridge dabbles with a slight little guitar breakdown but has this slight twinge of synths and electronic beat that still makes it danceable.

“I Think They Know” is when we reach peak anxiety. Baxxter touches on feeling like an imposter and not belonging, imagining that everyone is staring and judging him. When listening to the song, it feels like we are getting a peak into his head. The guitar on this track is nasty and growling. The band mixes that with an in-your-face bassline and pounding drums that feel like they are fighting each other. It creates the feeling of uneasiness like you are going crazy. The bridge features Baxxter singing about voices on the radio, Over the course of the bridge, we hear go from maybe hearing voices on the radio to realizing the voices in his head are taking over him. 

On “Blissed Out”, we find Oliver Baxxter coming to some conclusions with lyrics like “I’m blissed out, fallen from a cloud/Used to chasing highs, now I’m happy on the ground” and “sometimes you need the chaos ’till you truly find your soul”. We realize that Baxxter may be coming down from his high and coming to terms. He was riding the success and dreams he had but it was all too much, and he is happy to touch grass and live his life as it comes. 

Need a song for your next heist or spy mission? Look no further than “Dark Passenger”. This track is a bit all over the place, but it works. The beat at the beginning feels like we are entering a fight scene. It is snappy, electronic, and makes you want to run but also dance a bit. This pairs with a punching guitar and syncopated drum. Vocally, Baxxter sounds like he is under a spell. He is following whatever he is being told by this person or entity that is clearly bad news. Although, his “Dark Passenger” may just be his mind as during the bridge he says, “you’re taking over/changing me from the inside, the inside”. Whatever it is, he can’t let it go. 

Broadside’s rockiest song on Nowhere, At Last is “What Are You Leaving Behind?”. The intro is full of strong and dirty guitars. Oliver Baxxter’s vocal sounds a bit rougher, not as polished as on some of the more pop leaning tracks. He sounds as though he is begging and pleading for something. He is questioning change because nothing goes his way. Life just seems to be hurting him. He is wondering what the right thing is to do, who is and what he will leave behind when he goes. It feels like the climax of the whole album. The drums at times are overpowering the vocals, especially during the second verse. The bridge features a slower but intense drum beat that builds into the final chorus. Your ears are just overwhelmed with everything going on: bass, guitar, drums, synths, you name it. 

The story comes to a close on “Is This It?”, but there is no real ending or conclusion. The chorus of the track is, “Is this it/is there more to this/or is this it/is there more, is there more than this?”. It pretty much sums up the entire thesis of the album. They do not really have an answer to the question that the band has been exploring. But the tone of this track is not sad or angry. It feels more at peace. The vocal is more pulled back and in Baxxter’s higher range for the majority of the track. It feels lighter. He isn’t screaming or rough. While some uneasiness can be slightly inferred, it has taken the backseat to chanting. The guitar solo feels bright and happy, which then leads into a marching drum moment that is not hard and angry. Baxxter is belting and the backing vocals are chanting “don’t kick the chair from underneath me/don’t kick the chair from underneath my feet” in unison like it is their new life motto. It feels like they are ready to keep going and explore what life has to offer. Compared to where the album started, is a successful conclusion. So, the band does end up Nowhere, but I think they are okay with that. 

All in all, this project was a journey that doesn’t get wrapped in a cute and happy bow. No one has the answers to all of life’s questions and that is what this album proves. Now, they are accepting life as it comes instead of fighting with their mind. Nowhere, At Last is cohesive, lyrically strong, has clean and tight production, and shows the diversity in Broadside’s sound.

You can stream Nowhere, At Last on all major streaming platforms.