Sean Murphy-O’Neill told The Rock Revival this month that “I’d like to think that we’re still doing something quite interesting”, and it’s safe to say that with Lust for Life, his band have delivered. Courting’s third release is an album that just won’t let you off your toes, wrapped up in a bold sound and an even bolder concept. Just when you think you’ve got this LP figured out, the Liverpudlians pull the rug from under you. That’s not to say the LP is a confusing listen; on the contrary, its layers keep each track feeling fresh – at no point do you feel you’ve got the same couple of songs on loop.
“Can we split off in groups of two”, repeated in the chorus of single “After You”, isn’t the most adventurous lyric in songwriting history, but is a clever nod to Lust for Life’s structure. Each track is twinned by another, whether it be the strings in “Rollback Intro” matching the opening riff in “Likely Place For Them To Be”, or more subtle similarities. Over the course of Lust for Life, what started as “playing with the theme of duality” evolves into another brave step forward for a band ever on the move.
If “Intro’s” interlocking strings gave you the impression that this would be a more mellow LP, Sean Thomas’ piercing drums force you to think again as the next track thunders in. The same explosive, experimental energy that characterises Lust for Life oozes from “Stealth Rollback”, from Murphy-O’Neill’s Fat Dog-esque screams to an instrumental that refuses to stop building.
Courting’s strength comes from their ability to seamlessly blend influences and fluctuate between genres. One track in their discography might be a hyperpop romp and the next inspired by post-punk. This doesn’t mean the band have forgotten about good-old pop-rock, however, with singles “Namcy” and “Pause At You” exemplifying this. The latter combines angsty verses reminiscent of Declan McKenna with an adrenaline-fueled chorus made for the crowds. Much like 2024’s pop behemoth Charli XCX, Murphy-O’Neill’s voice is more than enough to impress without autotune, yet his ability to blend it into his vocals throughout each album creates an engaging and unique listen.
“Eleven Sent (This Time)” and its beautiful, melodic blend of piano, sax and strings not only showcases Courting’s staggering versatility but also gives you a chance to catch your breath. Sandwiched nicely between two veritable rip-roarers, the track’s change of pace is a welcome one, allowing “After You” to follow in without its raucous energy feeling overcrowded. Although it marks the weakest of Lust for Life’s singles, on an album as complex as you’d expect a Courting release to be, “After You” and its repeatable earworm of a chorus bring with them a grounding sense of indie familiarity. Sure, not every track can be built for the sticky floors and Red Stripe cans, but as ever, the band know the balance.
The final two tracks combine every influence in Courting’s roster into a triumphant finish. Title track “Lust for Life” acts as the album in microcosm, journeying through the genres with all the confidence and poise that the Liverpudlians have become known for. It’s no victory lap and certainly not a closing chapter. The final track, “Likely Place For Them To Be”, paints the scene of a quartet at the height of their talent, yet still longing for more. Each band member is given the room to showcase and stun, from the embrace of Murphy-O’Neill and Joshua Cope’s guitars to an expressive bassline from Connor McCann, all underpinned by that sense of yearning and optimism. Courting are here to stay, and Lust for Life wants you to know it.
Words by Dylan Seymour