Lost on You, the new album from Tigers Jaw (Hopeless Records Inc. 2026)
By Brandon Goss
In today’s fast-moving music scene, some albums break through the noise while others fade out — showing expectations and reality don’t always match.
In March of this year, emo band Tigers Jaw dropped their eighth studio album, Lost on You. It centers on personal growth, arguing that moving forward means accepting who you were and who you are now — not chasing a “better” version of the past. The instrumentals and vocals are standout elements; smooth transitions plus the back-and-forth between Ben Walsh and Brianna Collins add variety. The album starts slow, builds into bursts of energy, then pulls back into a more reflective, low-key finish. A highlighted track from the album, “Head is Like a Sinking Stone,” is a perfect example of their ability to transition from lows into highs. The track features a newer sound than that of their earlier work; it leans more into a lively indie rock style rather than their typical emotion-heavy output. Overall, the album delivers, proving the hype was well-earned.
Unfortunately, not every release this year has followed that same path.
Joyce Manor’s new album, I Used To Go To This Bar (Epitaph Records, 2026)
Joyce Manor, an emo-punk band known for its consistency, released its ninth studio album, I Used To Go To This Bar, in late January. Over the years, the band has built a strong catalog, with standout releases like Never Hungover Again, Cody, and their self-titled debut.
This album, however, breaks that pattern. The band moves away from its raw, authentic sound, falling into a polished, overproduced style that’s become all too common in today’s music industry. The warning signs showed up with the single “All My Friends Are So Depressed,” which hinted that the album would fall short. The track comes across as overproduced, sounding almost like a campfire song, and compared to the energy of Never Hungover Again — with tracks like “Catalina Fight Song” and “Falling in Love Again”— it hardly sounds like the same band.
The album leans into a polished pop structure, with instrumentals that come off as flat and monotonous. Though I do appreciate the album’s overarching message, the metaphorical “bar” shifts from a place of comfort and familiarity to a symbol of grief, as the narrator grapples with the loss of those close to him. Overall, for a band that has consistently set the bar in the underground punk scene, this album feels like a step back.
While some recent releases have fallen short, attention now turns to what’s coming next.
Basement’s upcoming album, WIRED (Run For Cover Records, 2026)
On May 8, Basement is set to release WIRED, a highly anticipated new album from the emo/post-hardcore band. The four singles released so far indicate a strong and promising direction for the album. The first two singles were released discreetly through a website created specifically for fans. “WIRED” and “Broken by Design” both deliver the punchy, catchy sound Basement is known for. This suggests that, unlike Joyce Manor, Basement is staying true to its sound — an approach that feels both consistent and refreshing. If the rest of the album maintains that balance, WIRED could stand out as one of their strongest releases in years. So far, the high expectations feel justified.
Looking across these releases, it becomes clear that consistency and authenticity play a major role in how albums are received. While some artists continue to meet expectations, others struggle to evolve without losing what made them stand out in the first place.
All albums discussed are available on most major streaming platforms.
