B-Side Guys

Youth rarely concerns itself with containment. On “Merry Go Round,” London four-piece Another Day demonstrates a remarkably mature approach to chaos—not by taming it, but by weaponizing its unpredictability through unexpected structural shifts and disciplined performance. The result is a track that simultaneously honors punk tradition while subtly subverting it.

As the second single ahead of their debut “Doghouse Roses EP,” the band builds on momentum generated by support from BBC Radio Kent’s Abbie McCarthy and BBC 6 Music’s Tom Robinson. What distinguishes “Merry Go Round” from standard indie rock fare is its commitment to dynamic transformation—sudden tempo changes function not as mere compositional flourishes but as emotional architecture, creating a sonic rollercoaster that mirrors the lyrical examination of band life’s cyclical highs and lows.

The Clash and Jam influences manifest less in direct mimicry and more in philosophical approach—using precision to enhance rather than restrain energy. Vocalist/guitarist Louis Hillier, who famously left school in 2020 to immerse himself in songwriting alongside brother Jonte (bass) and cousin Charlie Kish (lead guitar), delivers both aggression and vulnerability with equal conviction. This vocal versatility finds perfect counterpoint in drummer Mitch Fuller’s ability to seamlessly navigate the track’s deliberate tempo disruptions.

What elevates “Merry Go Round” beyond promising debut territory is the band’s commitment to “tonal depth and texture” within high-energy performance. This approach—balancing visceral impact with compositional sophistication—reflects Hillier’s stated commitment to “containing energy by focusing on the control of our performances.” The production wisely maintains enough raw edge to preserve authenticity while allowing the song’s intricate arrangements room to breathe.

The infectious “La-da-da” sections provide not just crowd-pleasing singalong moments but strategic release valves within the composition’s intensity—creating connection points that balance the more complex instrumental passages. This thoughtful architecture reveals a band already thinking beyond immediate impact toward sustained engagement.

Another Day’s rapid ascent from countryside writing sessions to sold-out shows at Bush Hall, Camden Assembly, and Sebright Arms makes more sense when experiencing “Merry Go Round’s” seamless blend of accessibility and ambition. Their collaborative approach—which includes incorporating poetry readings from friends like Astille Doherty (son of Peter Doherty) into live performances—suggests a band interested in creating community rather than merely occupying spotlight.

When Hillier speaks of doing “a disservice to the listener if we don’t give away our true selves,” he articulates the philosophical core evident in “Merry Go Round”—authenticity delivered through craftsmanship rather than mere expression. By setting “no rules when writing,” Another Day has paradoxically created something that feels both spontaneous and meticulously constructed, suggesting that their forthcoming EP will deliver on the substantial promise this single offers.