Costello Music

Costello Music is the sound of a band kicking down the saloon doors, pint in hand, grinning ear to ear. The Fratellis’ debut might not be subtle, but it doesn’t need to be. From the moment “Henrietta” bursts open with its chaotic riff and carnival charm, this record barrels forward like a runaway Glaswegian jukebox—equal parts rowdy pub anthem, retro jukebox pop, and Brit-rock revivalist glee.

There’s no shortage of references here—The Libertines, Supergrass, and The Kinks are obvious touchstones—but The Fratellis never sound like they’re paying homage. Instead, they swagger through 13 tales of small-town drama, laddish lust, and cartoonish character studies with cheek and bravado. “Chelsea Dagger” remains the crown jewel: a football chant disguised as a glam-rock stomper, impossibly catchy and universally licensed.

Frontman Jon Fratelli pens each vignette like a drunken short story: “Vince the Lovable Stoner” is half satire, half sympathy; “Whistle for the Choir” sweetens the chaos with a waltzing, melancholy pop number; and “Everybody Knows You Cried Last Night” is pure denim-clad jukebox gold. The lyrics might raise eyebrows (“misogynistic” was a recurring critique), but there’s no doubting their commitment to character.

Critics were split between eye-rolls and toe-taps, but Costello Music found its people. It’s a record made for sticky floors, last orders, and the ride home shouting choruses out of taxi windows. It’s not deep, but it is addictive. Like a bag of chips at 2am—messy, salty, and totally satisfying.