Bad Moves


DCs Bad Moves are sitting square on the Venn diagram between power pop, punk and New Wave. While their songs pogo with abandon, they snag the candy-coated harmonies that stuck The Go-Gos and The Bangles to the airwaves like glue. They round out the mix by adding a 10-foot-tall tower of confidence that picks up the vibes of 20/20, Phil Seymour and The Beat. They never tip the needle too far in the direction of any of their poles, which makes for a record that’s floating in the pop ether, enjoying its own company more than any of its touchstones. As such, Tell No One careens through the speakers with a wide-eyed glee that’s infectious, barely contained and potently palpable.

That glee is central to Bad Moves’ appeal. Their songs, lyrically, are often not celebratory affairs. They center on overcoming anxieties, feeling out a sense of self, weathering family hardships, and dealing with hypocrisy. These songs are often the literal embodiment of butterflies in the stomach. Yet they alchemize the electric tinge in the nerves into a gush of glee to burst through the bubble of doubt. They galvanize an entire audience into overcoming their worry with them. The stakes seem high in Bad Moves’ world, but like the young adulthood they crystallize, the payoff seems just as high.

There’s no rush like being in your teens and twenties and feeling seen by a band. It seems like Bad Moves have the potential to hook a whole generation looking to collectively hurdle the constant lump in their throats. Its freeing to just peel a few layers of paint with pent-up amplifier power, an irrepressible bounce and lyrics about the politics of love. This year there may be no better band to drive the heartswell of hooks n harmonies that crack the shell of youth than Bad Moves.

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