Declan McKenna: 'I realised I don't have to be serious'

Indie star Declan McKenna moves away from weighty lyrics to embrace a more carefree approach on a psychedelic new album, signaling a shift in his approach to music.

The indie star Declan McKenna sheds his reputation for weighty lyrics and lets loose on a psychedelic new album.

The chorus of Declan McKenna’s recent single “Sympathy” declares, “You don’t need to be clever.” This catchy yet eccentric pop tune features synth bassoons and merry-go-round organs, setting the tone for his third album, “What Happened To The Beach.”

McKenna gained recognition for incorporating headlines into his lyrics, from addressing corruption in Fifa with “Brazil” to exploring themes like transgender suicide and religious hypocrisy. However, his latest album deliberately diverges from such weighty topics, embracing a whimsical exploration of sound and wordplay.

In the opening track, “Wobble,” McKenna sings about heading to Tenerife with a newfound perspective on life, highlighting a shift away from his previous serious demeanor.

Feeling burdened by the “voice of a generation” label, McKenna decided to take a more relaxed approach with this album, allowing songs to evolve naturally rather than forcing specific meanings upon them.

Describing the album as “hella weird” with a “wonky edge,” McKenna acknowledges that its experimental nature may not resonate with everyone, including his parents. Despite this, they were present during its creation, as McKenna transformed his sister’s bedroom into a makeshift studio during the Covid pandemic’s initial wave.

Reflecting on the process, McKenna acknowledges that the album’s unconventional style might not appeal to his father’s taste but is nonetheless a reflection of his artistic journey.

Playing his guitar with increasingly unusual tunings in his childhood home reconnected him with the way he first explored music as a teenager. Without the pressures of touring, record labels, and studio sessions, he rediscovered the joy of “making music just for fun.”

“I experimented with the most intriguing and unconventional ideas I could think of on the spot, just letting creativity flow.”

This process is evident in “I Write The News,” which starts with a simple iPhone recording from his sister’s room. As the song progresses, McKenna returns to the beginning, layering lo-fi drums and playful backing vocals onto the demo, culminating in a final refrain that dissolves into a psychedelic haze.

The lyrics carry broad satire, depicting an imagined argument between “Labour kids” and “some Kensington dude” over who controls the news agenda. However, instead of making explicit political statements, the characters are preoccupied with their next joint.

“There’s depth to it, but it resides in this whimsical, nonsensical realm,” he explains.

“I think that’s where this album truly lies. It’s not purely nonsensical, yet it’s easy to perceive it as such because the lyrics are deliberately ambiguous.”

After the pandemic concluded, work on the album continued in both Brighton and Los Angeles, where McKenna collaborated with producer Gianluca Buccellati, known for his contributions to Lana Del Rey’s Lust For Life and Arlo Parks’ Mercury Prize-winning Collapsed In Sunbeams.

While the album carries the essence of Californian sunshine and blue skies, it delves deeper into the reasons behind our inclination to seek escapism.

Tracks like Mulholland’s Dinner and Wine reflect on the hollow allure of excess (“I got a boring apartment and all of the drugs”), hinting that abundant free time and substance use don’t necessarily equate to happiness for McKenna.

In another song, The Phantom Buzz (Kicks In), McKenna addresses the familiar feeling of being ensnared by technology, symbolized by the imaginary sensation of one’s phone ringing when it’s not, along with the relentless pace of modern life.

The pandemic offered McKenna a chance to pause and reflect, marking his first break after five years of relentless touring.

After winning Glastonbury’s Emerging Talent competition and achieving success with the infectious indie hooks of Brazil, McKenna found himself swept away from his childhood home in Cheshunt to the bustling streets of London amidst a frenzy of record label interest.

Reflecting on his time in London, McKenna remarks, “I don’t really feel like I’m cut out for London… The pace of life in Brighton, by the sea, is a little bit more suited to me.”

He further reflects, “That’s been the big takeaway from the last couple of years for me… Just because you can move very quickly and take every opportunity that comes your way, it doesn’t mean you should. When you’re able to travel the world a little bit, you see that not everywhere operates at the same pace. There’s something really important about slowing down that helps you get perspective on your life.”

He mentions that therapy, which he began in 2020, aided him in gaining perspective and adjusting his aspirations. Two of the most notable tracks on his album, “Nothing Works” and “The Act,” directly confront this theme.

“Nothing Works,” with its glam-rock Bowie vibe and persistent piano chords, represents the closest connection to McKenna’s previous style. However, the lyrics delve into an existential dilemma as he grapples with evolving creatively while not alienating his fanbase.

In the song, he sings about feeling disconnected from younger audiences: “You tell me I don’t relate to the kids no more / Now, I feel like I’m letting them down,” possibly reflecting a conversation with his record label.

“I want to progress in a manner that transcends mere obligation,” the singer elaborates. “I find it more beneficial to trust my own taste rather than trying to predict others’—whether it’s my team, label, or fans.”

McKenna emphasizes the importance of authenticity in music-making, stating, “The best music emerges when you follow your instincts. Nobody can replicate your unique taste, so by embracing it and letting go of fear, you’re more likely to produce music that resonates.”

“It’s An Act adopts a more subdued approach, delving into the dynamics of touring musicians who often prioritize the audience’s expectations over their own well-being,” he explains.

“There’s a certain pressure as a performer to maintain a facade and embody what people expect of you,” he reflects.

“At times, it can be burdensome, and that’s perhaps why I felt compelled to pen the song—to convey, ‘This isn’t genuine, I’m just human’.

“It’s a nuanced sentiment, born out of discussions with fellow artists who share similar sentiments about the disconnection upon stepping offstage, realizing they haven’t fulfilled their own aspirations.

“And sometimes, that’s acceptable. You can’t be in the spotlight perpetually.”

Viewed holistically, McKenna’s third album seems like a shedding of old layers.

The singer is carving a path where he feels at ease and resolute in his decisions. The favorable critiques of his latest album affirm his confidence in himself.

In a four-star appraisal, the Guardian’s Ben Beaumont-Thomas remarked: “Individual tracks boast melodies as delightful as a sugar cube on the palate, yet the album’s greatest strength lies in its overarching sense of a peculiar, fluctuating high.”

Matthew Mclister of Clash hailed it as a “thoughtfully crafted record that diverges significantly from his previous work,” while NME’s Laura Molloy observed: “Despite its nods to the West Coast, it remains an album deeply rooted in British sensibilities.”

McKenna concludes: “I aspire to carve out my own niche in the music world that’s entirely my own. And I believe I’m edging closer and closer to achieving that.”

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