B-Side Guys

Steve Mathieson’s transition from Collapsing Cities frontman to solo artist finds perfect expression in workplace grievances compressed into two-minute bursts of controlled fury. “Middle Management Asshole” operates as both personal exorcism and collective scream therapy for anyone who’s endured corporate Christmas shifts and cash-bar work parties, transforming mundane employment frustrations into urgent alternative rock.

The track’s stripped-down approach serves its subject matter effectively—no elaborate arrangements needed when the central hook carries enough venom to sustain listener engagement. Mathieson’s collaboration with Alistair Deverick and Hannan Carter provides rhythmic foundation that supports rather than complicates the song’s direct emotional appeal, understanding that some anger requires minimal ornamentation to achieve maximum impact.

Mathieson’s sobriety-influenced songwriting demonstrates how personal recovery can sharpen rather than soften artistic edge. Rather than mellowing his approach to frustrating authority figures, his clear-headed perspective allows for more precise targeting of workplace dysfunction. The song’s brevity suggests an artist who’s learned to distill resentment into concentrated doses rather than extended rants.

The upcoming Imposter Syndrome album context positions this track as part of larger examination of adult disappointments and systemic absurdities. Mathieson’s description of wanting listeners to “feel something in some form” acknowledges that emotional connection doesn’t always require positivity—sometimes shared irritation provides genuine communal value.

His New Zealand perspective on workplace culture adds geographic specificity without limiting universal appeal. Corporate dysfunction translates across cultures, making this particular middle management critique relevant regardless of national context. The track’s emo influences surface through emotional directness rather than elaborate melodic structures.

“Middle Management Asshole” succeeds by treating workplace anger as legitimate artistic material worthy of musical expression. Sometimes the most therapeutic response to institutional frustration is turning it into something people can sing along with loudly.