Dead Dads Club Dead Dads Club

Critic's Take

In her measured, enthusiastic voice Lisa Wright argues that Chilli Jesson's Dead Dads Club finds its best tracks in muscular, immediate moments like “Don’t Blame The Son For The Sins Of The Father” and “Goosebumps”, songs that are "designed to be turned up loud and played live". She notes the record balances raw subject matter with confident, vibrant music, pointing to opener “It’s Only Just Begun” and closer “Need You So Bad” as emotional anchors. Wright keeps the tone appreciative and specific, praising production and hooks while insisting these are songs that stand up outside the concept. The result is a narrative-driven debut where the best songs - loud, grizzled and euphoric - make the album feel like a regained musical trajectory for Jesson.

Key Points

• The best song moments are loud, live-ready tracks like "Don’t Blame The Son For The Sins Of The Father" that pair punchy production with emotional heft.
• The album’s core strengths are confident songwriting, varied textures, and production that turns personal grief into anthemic indie rock.

Themes

Critic's Take

Chilli Jesson’s Dead Dads Club finds its clearest moments in songs like “That’s Life” and “Running Out Of Gas”, where melody and blunt emotion collide into catharsis. The review’s voice sticks to measured admiration, noting the record’s shifts from dry acoustic tenderness to amped aggression and why the best songs on Dead Dads Club feel expansive yet intimate. Jesson’s lyricism and chord work make tracks such as “It’s Only Just Begun” and “Junkyard Radiator” quietly authoritative, while “Humming Wires” and “Goosebumps” provide jolts of urgency. Overall, the best tracks on Dead Dads Club are those that balance rawness with compositional craft, promising cathartic payoff.

Key Points

• The standout song is ‘That’s Life’ because the reviewer explicitly labels it the standout and ties it to the album’s melodic strengths.
• The album’s core strength is its mix of blunt emotional lyricism and dynamic arrangements that shift between intimate acoustic and amped aggression.

Themes

Critic's Take

Dead Dads Club's self-titled record turns grief into catharsis, and the review puts particular weight behind songs like “Volatile Child” and “Need You So Bad”. The writer praises the move from the indie swagger of “Volatile Child” to the ominous electro of “Humming Wires”, and highlights a tender, scrappy “Running Out Of Gas” that evokes Conor Oberst at his most heartbreaking. By the time the heady chorus of closing number “Need You So Bad” takes off, it is described as imbued with a real sense of healing and closure. This narrative keeps the reviewer's conversational, observant tone while answering which are the best tracks on Dead Dads Club.

Key Points

• The best song, "Need You So Bad", is praised for a heady closing chorus that delivers healing and closure.
• The album's core strengths are its emotional catharsis and surprising sonic variety, from indie swagger to ominous electro.

Themes

Critic's Take

Dead Dads Club's self-titled debut reads like a long-awaited comeback, and the best tracks show why. On Dead Dads Club the immediate thrills come from “Volatile Child”, which is positioned as the record's ignition, and the brooding “Humming Wires” channels that pent-up, Elliott Smith-tinged ache. The sprawling “Don’t Blame the Son for the Sins of the Father” is flagged as a must-listen too, folding Fontaines-style heft into poppier Cure influences. These are the songs most likely to answer searches for the best songs on Dead Dads Club and best tracks on Dead Dads Club, delivered in the review's observant, slightly rueful tone.

Key Points

• Volatile Child is the standout because it is described as the moment "it all kicks off", providing the record's momentum.
• The album's core strengths are its fusion of Fontaines D.C. muscularity with brooding, Cure-adjacent pop and introspective songwriting.

Themes