W: Ale Marlow

No Trends, Just Truth: Only The Poets Define a Generation with ‘And I’d Do It Again’

For years, Only The Poets have been the UK’s best-kept secret—a band built not on viral gimmicks, but on the sweat of relentless touring and a rare, unfiltered connection with their audience. Today, the Reading four-piece—comprised of Tommy Longhurst, Andy “Roo” Burge, Clem Cherry, and Marcus Yates—finally drop their debut album, And I’d Do It Again. It is a 14-track manifesto that proves why they’ve managed to sell out iconic venues like Brixton Academy and Electric Ballroom while remaining fiercely independent in spirit.

The album arrives at a pivotal moment. After supporting giants like Lewis Capaldi and The Wombats, and moving 30,000 tickets across Europe in 2025 alone, the band had every reason to lean into "safe" pop tropes. Instead, they’ve delivered a record that feels deeply lived in. From the shimmer of 80s-inspired synths to the raw, self-aware lyricism of frontman Tommy Longhurst, the production (handled by the band’s own Cherry and Yates alongside Dan Dlion) strikes a perfect balance between stadium-ready hooks and the intimacy of a late-night confession.

And I’d Do It Again is a sonic journey through the messy reality of being human. Standout tracks like "Emotionally Hungover" capture a sense of liberating euphoria, while "I Keep On Messing It Up" uses bright piano lines and elastic bass grooves to mask a poignant exploration of self-sabotage.

The record shines brightest when it slows down to breathe. "Madeline" offers a breathtaking level of vulnerability that explains exactly why this band has such a "cult-like" following; they don't just sing to their fans; they sing for them. With high-end mastering by Chris Gehringer (known for his work with Harry Styles and Lorde), the album sounds massive, yet it never loses the "grassroots" grit that defined their early days at Reading’s The Purple Turtle.

In an era where ticket prices are a constant point of contention, Only The Poets are putting their money where their mouth is. To celebrate the release, they are headlining a sold-out O2 Academy Brixton on February 2nd with tickets priced at a symbolic £1.

By partnering with The LIVE Trust, the band isn't just playing a show; they’re launching a movement for accessibility. Coupled with their initiative to give an unsigned artist a slot on the Brixton stage via a fan-voted showcase, they are proving that as they rise, they intend to pull the rest of the scene up with them.

"It’s the best representation of us as a band—there’s been a lot of self-reflection, growth and discovery," says Longhurst.

And I’d Do It Again is more than a debut; it’s a victory lap for a band that did it the hard way. It is bold, unguarded, and undeniably essential.

Neon Souls and Raw Reels: The Visual World of Only The Poets

The band’s visual identity is just as evocative as their song writing, with a videography that masterfully bridges the gap between cinematic storytelling and the raw energy of their live performances. Frequently collaborating with director Jordan Daniel Logan, their music videos—such as the neon-drenched, synth-driven aesthetic of "You Hate That I’m In Love" or the vibrant, hook-laden "I Keep On Messing It Up"—utilize a distinct "alt-pop" palette of shimmering lights and intimate close-ups to mirror the emotional urgency of the tracks. From high-concept narratives to behind-the-scenes glimpses that highlight their deep bond with fans, their videos serve as a visual extension of the band’s transparency. Whether it's the euphoric, liberating motion captured in the "Emotionally Hungover" visuals or the nostalgic, 80s-inspired textures of their more recent work, Only The Poets ensure that every frame feels as "lived-in" and authentic as their lyrics.