Yungblud is back with IDOLS—his boldest, most ambitious release to date. It’s the first half of a planned double album, with the second part expected later this year. And honestly? This might just be his best work yet. It feels like a major evolution. Sharp. Confident. Expansive. Ever since he dropped tracks like Lowlife and Breakdown, there’s been a noticeable shift in quality and focus, and IDOLS continues that upward climb. It might move away from the raw chaos of his earlier work, but it adds something deeper, more intentional. It’s still Yungblud—just older, wiser, and sharper than ever.
Yungblud – IDOLS Review
I’ve dipped in and out of his music over the years, but IDOLS pulled me right back in. The lead single, Hello, Heaven, Hello, is a nine-minute epic—probably his longest track yet—and it’s a showstopper. It’s dramatic, layered, and operatic in the best way. Think Bohemian Rhapsody meets The Black Parade, but with Yungblud’s signature edge. It’s theatrical without feeling forced. A real rock odyssey, and a perfect way to open the album.
Then we get Lovesick Lullaby—a nod to 90s Britpop, with shades of Oasis, Blur, and even a sprinkle of Bowie. But it’s not copy-paste nostalgia. It’s been filtered through his own lens, making it fresh and charming. Right before it, there’s IDOLS Part 1, which acts like a build-up or prelude. Taken together, the two tracks feel like a single emotional arc—bittersweet, hopeful, and deeply personal.
Later in the album, IDOLS Part 2 appears after War, another standout. War is punchy and aggressive, all crashing drums and snarling guitars, while Part 2 swoops in like a breath between punches. It softens the edges and leads beautifully into the album’s final act. It’s a clever bit of sequencing that shows just how much thought went into this project.
One of the emotional highlights? Zombies. It’s raw, it’s heartbreaking, and it might be one of the most vulnerable songs he’s ever released. The music video, featuring Florence Pugh, adds even more weight to it. It’s powerful stuff. Then there’s Ghosts, a six-minute journey that rides a gorgeous rhythm and never lets go. Both of these tracks were first previewed at an intimate live show a few months back, and fans have been waiting ever since. Now that the studio versions are here, they absolutely deliver.
Monday Murder brings some levity. It’s an earworm—joyful, bouncy, and a bit of a breather after the heavier stuff. With jangly guitars and bright drums, it feels like the sun coming out after a storm. And then the closer, Supermoon. Wow. It’s a piano-led ballad, calm and reflective, ending the album on a beautifully emotional note. It ties the whole thing together and leaves you sitting in silence when it fades out. In the best way.
All in all, IDOLS feels like the start of a brand-new chapter for Yungblud. He’s clearly looking to the past—pulling from the grandeur of Queen, the emotional depth of U2, the swagger of Britpop—but he’s doing it on his own terms. The result is something that feels timeless and fresh all at once. He’s traded some of the scrappy edge of his early albums for a more polished, conceptual sound—and it suits him. This isn’t just a collection of tracks. It’s a real album, with flow, purpose, and heart.
And honestly, if you’ve drifted away from Yungblud in recent years, this is the perfect time to come back. It’s emotional, theatrical, and full of big ideas—especially if you’re into British rock, Britpop, or anything with guts and drama. Every track has depth. Every track feels.
Rating – ⭐️⭐️⭐️⭐️⭐️
