Up until the early 2000s, it was common for rock bands to rise to international popularity. Bands made sense because they represented a shared experience and the value of unity. Not to mention the previous decades, when the band format was the most celebrated, with world-conquering groups emerging every day. Pop-rock, and young people, needed that. Coming back to the 2000s, one of the last examples of this kind are The Strokes, while only a few survivors remain bands of global success: Muse, Radiohead, Arcade Fire. Beyond that, pop-rock bands have fallen off the radar of young listeners. Which is a shame, because there are still those with plenty to say, making music that feels fresh and current. Ireland's Clockworks are among them.
The band featuring James McGregor (vocals), Sean Connelly (guitar), Damian Greaney (guitar) and Tom Freeman (bass) formed in 2019 and relocated to London to chase their dream. Drawing on the post-punk scene, they set out to craft a sound that was both powerful and melodic, steering clear of the raw fury of Idles and their ilk. The result is a fresh, energetic formula built on melodic hooks, delicate harmonies and a balanced use of bass-and-drums power. It's no coincidence they caught the eye of Alan McGee (the man who discovered Oasis), or that their debut album "Exit Strategy" (2023) was produced by Bernard Butler, founder and former guitarist of Suede. Airy chords, an alternation of tender and energetic songs, a highly expressive voice and a knack for radio-friendly songwriting make that album a breath of fresh air. Far removed from both the art-rock melancholy of Fontaines and the destructive fury of Idles, the Clockworks want a place of their own outside the post-punk cage - and they get it.
Their recent "The Entertainment" (out via V2) is a step forward on the road to independence, aiming to establish them as a brilliant pop rock band. Had this come out in the early 2000s, they'd be poised for stardom - just listen and you'll believe it. If the album's themes revolve around the alienation of the society of the spectacle, the music itself carries hope: clean sounds, unbeatable melodies, a fine balance between instruments, with James's voice as the added value. The music flows, and every song delivers a change of pace, a different guitar interplay, a bewitching pop nuance.
"How To Exist" is a spoken-word litany carried by a piano-and-kick-drum 4-count groove, joined by a sinuous bass line. We're already on the rollercoaster, and with "Best Days" you wouldn't want to get off. A gorgeous track driven by guitar riffs and a pulsing bass. The bass carries the hook while the guitar comes in on the chorus, which captures all the song's melancholy in the contrast between the minor-key chord progression and the vocals ("I feel fine, these are the best days of my life"). "Getaway Car" slows the pace down, the drums carve out the tempo and the guitars weave intricate patterns in a track whose intensity comes from the repetition of the bass line. "La Dolce Vita" is another track that's both driving and melodic at once: the vocals become more whispered, the guitars spin intriguing melodic lines and the chorus makes all the difference, further proof of a relentless pursuit of songs that stick in your brain.
"The Actor" is a slow, aching episode, held up by a bed of synths and little else, at least until near the end, where a hint of drums appears only to fade out and leave room for silence. "Well Well Wellness" overdoes the radio-friendly winking, though towards the end the guitars pile up, take over and turn it dramatic. "True Romance" is a tearjerker of a ballad that opens with a slow guitar riff underpinning a delicate performance. The track is admittedly ordinary, but within the album's overall balance it works just fine.
"The Entertainment" is a successful album despite losing some steam towards the end; it's perfect for anyone looking for their own pop-rock band. It doesn't experiment or reinvent anything, it seeks approval, but does so with elegance and freshness.
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11/07/2026
This article is an English translation of the original Italian text by Luigi Zampi, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.