B-Side Guys

Ryan Merchant and Sebu Simonian have traveled far from their Craigslist origins, but “Late For School” suggests they remember what it felt like to be outsiders looking for different paths. The track serves as the latest preview from their forthcoming album Making Up The Rules, and the title proves prophetic—this is Capital Cities operating by their own creative guidelines rather than chasing their “Safe and Sound” formula.

The production maintains their signature synth-forward approach while incorporating more aggressive electronic textures than their previous radio hits. Horn sections still punctuate key moments, but they feel sharper here, more confrontational than celebratory. The drum programming drives with industrial precision, creating rhythmic urgency that mirrors the lyrical rebellion against institutional conformity.

Where their breakthrough singles focused on escapist joy, “Late For School” channels frustration into dance-floor energy. The repeated refrain about rejecting institutionalization carries weight beyond typical anti-establishment posturing, especially from artists who built careers outside traditional music industry pathways. Their background writing commercial jingles before viral success adds credibility to lyrics questioning prescribed routes to achievement.

The indietronica elements feel more prominent than in their earlier work, with glitchy electronic flourishes and synthesizer sequences that recall their experimental “Farrah Fawcett Hair” collaboration with André 3000. This isn’t Capital Cities abandoning their pop sensibilities but expanding their sonic palette to accommodate more complex emotional territories.

Merchant and Simonian’s vocal interplay remains their strongest asset, harmonizing rebellion with enough melodic hook to keep the message from overwhelming the music. They understand that effective protest songs need to be singable first, political second. The track succeeds in making institutional critique feel celebratory rather than bitter.

“Late For School” positions Capital Cities as artists still willing to challenge systems, even after benefiting from them. Sometimes the most radical act is refusing to show up on time.