Pastel prove anthemic British guitar pop isn’t just the past but very much the future too.
Festival clashes are often unfair, more so when it affects newer bands. Which brings us to the first time I saw Pastel last July in Glasgow. Selected to play a mid-afternoon Trnsmt set at the same time as the much-hyped The Last Dinner Party and Scottish indie favourites The Snuts, the odds were against Pastel pulling a sizeable crowd on the considerably smaller River Stage.
Yet word had gotten out that something special was happening on the festival’s smallest stage. A dedicated 200 or so revellers (many of whom donning mod-cut haircuts, bucket hats and Fred Perry polo shirts) gathered to check out this young Manchester-Welsh band in action and were rewarded by euphoric set of mind-blowing proportions. We’d been warned a year earlier by Sons of Spike Island bandmates Afflecks Palace of this band’s greatness, and boy did they deliver that afternoon. From that moment, the countdown was on for their debut album and six months on they’ve finally they’ve dropped it. As expected, its an absolute belter.
So, I suppose we better address the elephant in the room for those who don’t know much about them. Yes, Pastel are another band influenced by Stone Roses and Oasis, but don’t sigh too hard - they pull from that period while producing an ear catching sound fresh and exuberant. A special band, one different to the many other pretenders before them. True to form, cousins Jack and James Yates (the two outspoken band leaders who bring a heap of vitality to the project) formed the band after seeing the Stone Roses in 2016. But tribute act they definitely are not.
Pastel’s debut album has been a long time coming then. They first began teasing music as far back as 2020, quickly building an online following due to their swaggering indie aesthetic and grand Madchester-inspired anthems that achieve the simple feat of making people feel good about themselves. Indie rock royalty appears on board too. Ride’s Andy Bell considers himself a fan – even remixing single ‘Your Day’ last year – and Liam Gallagher selected them to play on his Knebworth 2022 bill.
Released only a couple of weeks back, Souls in Motion is a grand opening statement of intent. Of course, it unapologetically plays on ‘90s reference points, but does so while showcasing a formula as fresh and engaging today as it did 30 years ago. The record arrives with the meaty sound and big hooks of opener ‘Heroes’ Blood’ before moving onto the triumphant guitar riffs and pumped out chest lyricism of ‘Your Day’.
The highlight of the record is undoubtedly fourth track ‘Isaiah’ featuring some gorgeous guitar from Joe Anderson and a heavenly shoegaze sound that gives the song serious play back qualities (the bridge especially is spine tinglingly good!), while the swaggering anthem ‘Running on Empty’ has a chorus so euphoric you’ll feel you’re being raised into the sky (“Lord above, my heavenly sky / Let it be known, far away / That I just can’t go on the wall / Without you girl by my side”).
On ‘Leave a Light On (Velvet Storm)’ Pastel again try something different by way of balladry, again proving less than expected adaptability and poignancy. ‘Escape’ is later a dreamy closer echoing the wailing guitars on James’ 1997 hit ‘She’s A Star’ and departs on an explosive mix of thunderous drums and soaring guitars.
From start to finish, Pastel’s debut has us in the palm of their hand and its rare to hear such a young band sounding so confident and accomplished in what they do. With 2025 being the year Britpop nostalgia takes over the nation’s consciousness in the form of the Oasis reunion, Pastel prove anthemic British guitar pop isn’t just the past but very much the future too.
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