B-Side Guys

British folk veteran Brendon delivers a pointed social commentary with “Nothing’s Changed,” a track that intentionally challenges Bob Dylan’s optimistic vision with a more sobering assessment of societal progress. The song’s measured acoustic arrangement, produced by Dublin-born multi-instrumentalist Fiachra Mac Oireachtaigh, creates a deceptively pleasant backdrop for its incisive observations about persistent inequality.

The track’s narrative structure proves particularly effective, constructing a series of vignettes that juxtapose privilege against hardship. Brendon contrasts leisurely lifestyles of the affluent with working-class struggles through parallel stories—a technique that transforms abstract social critique into tangible human scenarios. The chorus’s blunt declaration that “nothing’s changed” lands with increasing weight as these contrasts accumulate throughout the song.

What makes this protest folk particularly compelling is how it connects to Brendon’s own musical history. After emerging on the UK music scene in 1974 through Jonathan King’s UK Records and later achieving chart success with disco-oriented releases like “Gimme Some,” Brendon has returned to his folk foundations. This musical journey lends authenticity to his perspective on social stagnation—he’s witnessed five decades of promised change while observing persistent divides.

The mandolin flourishes throughout the track provide tonal brightness that contrasts effectively with the lyrical darkness. This musical choice creates an interesting tension, suggesting how society often dresses inequality in pleasant packaging. When Brendon sings about the “elderly guy” bending his back or the “factory girl” in hand-me-down clothes, the warm folk arrangement becomes almost ironic—comfort music describing discomfort.

“Nothing’s Changed” demonstrates that protest music doesn’t require bombast to be effective. Instead, Brendon employs straightforward storytelling and melodic accessibility to deliver his message, creating a folk song that honors tradition while addressing contemporary concerns. The result is both a thoughtful counterpoint to Dylan’s hopeful anthem and a standalone statement from an artist who’s earned the right to historical perspective.