Yungblud Idols
Yungblud's Idols opens with a bold statement of intent, staking a claim for arena-scale ambition while probing the costs of fame and identity. Across five professional reviews the record earns a 69.2/100 consensus score, and critics consistently point to theatrical highs and nostalgic nods as the album's defining featu
The best song, "War," is where Yungblud stops sounding derivative and reveals a matured artistic voice.
The album’s strengths are grand ambition and 90s-influenced production, but its core weaknesses are tired pastiche and generic songwriting.
Best for listeners looking for 90s revival and arena ambitions, starting with Hello Heaven, Hello and Change.
Explore the full Chorus artist page, discography, and related genre paths.
See where this record sits inside the full critic-ranked discography.
See how Idols stacks up against Idols (Complete) on Chorus's 0-100 critic-consensus scale, including review depth and standout tracks.
Jump from this record into the broader critic-consensus lists for 2025.
Full consensus notes
Yungblud's Idols opens with a bold statement of intent, staking a claim for arena-scale ambition while probing the costs of fame and identity. Across five professional reviews the record earns a 69.2/100 consensus score, and critics consistently point to theatrical highs and nostalgic nods as the album's defining features. The nine-minute opener “Hello Heaven, Hello” is universally flagged as a showpiece, and tracks like “Idols Pt. I”, “Ghosts” and “Change” recur as standout songs on Idols.
Professional reviews praise the album's spectacle and catharsis even as they debate its substance. Reviewers note genre pastiche and 90s revivalism throughout, with references to U2, Oasis and Bowie shaping the record's palette; where some critics hear ambitious homage and soaring, string-led moments they call essential, others hear overwrought production that sometimes slips into derivative pastiche. Critics consistently celebrate the record's theatrical moments - the piano-bared interlude of “Idols Pt. II” and the string-filled climaxes - as proof of Yungblud's appetite for big feelings and arena-sized drama.
The balance of opinion is mixed but clear: Idols is at its best when it pares back and leans into genuine catharsis, and less convincing when influence tips into imitation. Across five reviews the consensus suggests Idols is worth listening to for its high points - notably “Hello Heaven, Hello”, “Idols Pt. I” and “Ghosts” - even if its reach occasionally exceeds its grasp. Below, detailed reviews unpack where those reaches succeed and where they falter in Yungblud's most theatrical collection to date.
Critics' Top Tracks
The standout songs that made critics take notice
Hello Heaven, Hello
5 mentions
"Which mainstream musician starts their album with a 9-minute song that sounds like three different tracks merged into one?"— Sputnikmusic
Change
2 mentions
"Did you miss Bowie? Well, Ziggy lives again through "Change," and the scream accompanying the solo might be coming from the other side"— Sputnikmusic
Idols Pt. II
2 mentions
"Idols Pt. II" and "Supermoon" blend together like the track Oasis forgot to write"— Sputnikmusic
Which mainstream musician starts their album with a 9-minute song that sounds like three different tracks merged into one?
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
Hello Heaven, Hello
Idols Pt. I
Lovesick Lullaby
Zombie
The Greatest Parade
Change
Monday Murder
Ghosts
Fire
War
Idols Pt. II
Supermoon
Get the next albums worth your time.
Critic-backed picks in one clean digest. No clutter.
What Critics Are Saying
Deep insights from 3 critics who reviewed this album
Critic's Take
Yungblud approaches Idols as a celebration, unabashedly wearing his influences on his sleeve while crafting memorable moments like “Zombie” and “Ghosts”. The reviewer's voice delights in the album's fearless nods to Bowie, Oasis and U2, and insists these callbacks become something new rather than pastiche. He praises the immediacy of “Change” and the Robert Smith-tinged “Monday Murder” as proof that the best tracks on Idols turn reverence into present-day urgency. By the time you reach “War” the comparisons fall away and the record reveals a matured artist staking his claim.
Key Points
-
The best song, "War," is where Yungblud stops sounding derivative and reveals a matured artistic voice.
-
The album's core strengths are its bold homage to British rock icons and its ability to make those influences feel immediate and youthful.
Critic's Take
In this review I argue that Yungblud's Idols wastes its best ideas, though a few tracks still sing loud. The nine-minute opener “Hello Heaven, Hello” is deliciously bombastic and the album's most audacious gamble, while the title track “Idols Pt. I” is particularly lovely with a wonderful chorus and sweeping strings. Beyond those high points, much of Idols collapses into tired pastiche - songs like “Lovesick Lullaby” and “Zombie” feel derivative and forgettable. Ultimately, the record's arena-size ambitions are undermined by generic writing and an absence of the playful energy that used to define Harrison's work.
Key Points
-
“Hello Heaven, Hello” is the best track for its audacious, bombastic nine-minute structure and arena-ready ambition.
-
The album’s strengths are grand ambition and 90s-influenced production, but its core weaknesses are tired pastiche and generic songwriting.