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Rating: 5 out of 5.<\/p>\n
ALBUM REVIEW | 5 SECONDS OF SUMMER \u2013 EVERYONE\u2019S A STAR by Lucy Holden<\/p>\n
More than a decade after they first entered the music scene, Australian four-piece 5 Seconds of Summer (5SOS) is back with their sixth studio album, Everyone\u2019s A Star!. Formed in 2010 and hitting peak fame after touring with One Direction in 2013 \u2013 a stark contrast to their humble beginnings doing covers in a garage with floppy emo haircuts \u2013 the band has since sold out arenas worldwide. This new record, released on November 14th (the first since 2022, following a period of solo endeavors), serves as a confident, often ironic reflection on their time in the spotlight.<\/p>\n
The album embraces a playful, self-aware pop-star persona, exemplified by their pre-release slogan, \u201cYour favourite boyband is back!\u201d and the use of a pink limousine for press stunts. As Michael Clifford (lead guitarist) noted in an interview with Zane Lowe, the ethos of the album is to simply \u201chave fun with it and all just be the biggest versions of ourselves.\u201d The result is a short but pleasant listen, clocking in at just under 45 minutes, defined by a thrillingly new sound: a mature blend of punk energy meeting experimental pop.<\/p>\n
The album kicks off with the title track, \u201cEveryone\u2019s A Star!\u201d , which serves as the focus track. Starting with a speech intro, the song is a layered, high-octane reference to early fame and the negative pressures young bands face. It keeps the old-school 5SOS style but is elevated by an undeniable focus on Hemmings\u2019 voice. His insane vocal range and high notes are a hyper-focus here, giving the track a hypnotic, almost Halloween-like scare factor\u2014like Hex Girls meets Nickelback and early Radiohead. The core message\u2014\u2018Everyone\u2019s a star baby\u2019\u2014is about escaping the industry\u2019s grapples to finally produce their authentic selves.<\/p>\n
The album then moves into the trio of brilliant singles released in the lead-up:<\/p>\n
\u201cNot Ok!\u201d is energetic, catchy, and mature. With its rhythm section being particularly strong, the track features influences that are almost possessed by Gorillaz, particularly through an early, retro Ashton vocal that sounds like it\u2019s filtered through a static megaphone. It\u2019s the adult version of their early punk roots, now free from the big bad music industry\u2019s constraints. The lyric \u201cyou and I together double homicide\u201d is an instant standout.<\/p>\n
\u201cTelephone Busy\u201d is preppy, poppy, and ready for the dance floor. The instrumental is a playful mix of industrial textures and bright pop, setting a cheeky, sarcastic mood. From the opening \u201cDa-da-da-da\u201d intro by Ashton and Luke, the band is self-assured and mischievous. Lyrics like \u2018does my memory make you wanna kiss me?\u2019 and Ashton\u2019s tarot card references paint a picture of someone confidently and casually navigating fleeting romances.<\/p>\n
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Clocking in at under 3 minutes, \u201cBoyband\u201d is a witty, self-aware, and irresistibly confident statement. The opening sound of a photograph being taken is a clear nod to paparazzi and fame. The chorus is a magic hook, blending repetition with a sly longing, referencing the industry\u2019s painful moments with lines like \u201cmake that monkey dance.\u201d The track sees 5SOS reclaiming their narrative from the generic \u201cboyband\u201d label, turning what was once used to control them into a powerful anthem.<\/p>\n
The momentum continues with \u201cNo1 Obsession\u201d, where the guitar-heavy music signals a definitive return. With opening lyrics like \u201cI know that boys don\u2019t cry but I got teary eyes,\u201d the track is like The Cure meets 2025. Luke\u2019s falsetto is simple and perfect, while the punchy chorus and backing vocals create an infectious toe-tapper. It\u2019s deep without being sad, showing a new direction through layered, soft vocals over heavy drums.<\/p>\n
A personal highlight, \u201cI\u2019m Scared I\u2019ll Never Sleep\u201d, feels like a return to the band\u2019s old-school B-sides mixed with The 1975\u2019s early sound. The title itself is raw and unique. Luke\u2019s vocal sounds pained and gorgeous, especially with the unmissable \u2018talking\u2019 sound throughout the track, making it a definite tearjerker.<\/p>\n
\u201cI Still Feel the Same\u201d initially echoes The Weeknd before transforming into a bombardment of pop-punk guitars and a beautiful, melancholy synth sound. The collaboration between Michael and Luke\u2019s vocals melts the heart, especially with lyrics like \u201cKiss me like you mean it.\u201d The track slows down in the last 30 seconds, capturing a driving-in-the-rain soundtrack feeling.<\/p>\n
The undeniable emotional gravity of the album resides in \u201cGhost\u201d, a track distinguished by its collaboration between Luke Hemmings and his wife, Sierra. Stepping away from the band\u2019s typical dynamic, the song adopts the reflective, introspective framework established during Hemmings\u2019 solo ventures. It feels deliberately sparse and moody, utilising textures to amplify the poignant lyrical content. It really is a raw exploration of anxieties, encapsulated in the confessional line: \u201cyou and I are haunted by a similar ghost.\u201d This song itself confirms 5SOS\u2018s mastery of understated, devastating balladry.\u00a0<\/p>\n
\u201cSick of Myself\u201d delivers a surprising surge of summer down under, using its vibrant sound to counterbalance the weight of its solemn lyrics. The track successfully captures a blend of depth and pure pop catchiness, reminiscent of classic new wave acts. This creation was made possible by the perfect\u00a0 partnership of Michael and Luke; the song serves as a beautiful testament to their combined genius and the intuitive, collaborative fluency they share.<\/p>\n
Track 10, \u201cEvolve\u201d one of the longer songs, is an instant head-bouncer that is rhythmically charged, clearly showcasing Ashton Irwin\u2019s influence. Ashton is unapologetically himself on this track, delivering unreal drum beats and dreamy vocals with lyrics like \u201cI wanna get high, I wanna get drunk, I wanna do drugs, I wanna make love, I\u00a0 wanna get fucked,\u201d and the call-out to the \u201cpink limousine.\u201d The bridge, featuring a woman speaking over the music, is a fantastic, Black Mirror-esque touch.<\/p>\n
\u201cThe Rocks\u201d instantly features a \u201cwoah\u201d that feels like a purposeful nod to their first big single, \u201cShe Looks So Perfect.\u201d It\u2019s a rhythmic, punky, and 2000s-infused track, relying on the band\u2019s groove and grit. It\u2019s a very serious track lyrically, with sharp interrogations of parasocial relationships and the expendable nature of pop stardom\u2014another nod to being famous so young.<\/p>\n
Acting as a grand finale, \u201cJawbreaker\u201d is an exceptionally rich and grounded track. It uses a commanding, heavy drum beat to solidify its place as a massive, sweeping album closer, underlining the sheer force of the rhythm players. The song effectively serves as the entire project\u2019s anchor, wrapping up the diverse emotional threads of reflection and personal evolution with the feel of an epic, world-ending movie soundtrack.\u00a0<\/p>\n
Everyone\u2019s A Star! is not just a return to the band\u2019s punk-pop roots; it\u2019s a defiant evolution. By leaning into the very label they fought for years, 5 Seconds of Summer has crafted an album that is witty, deeply reflective, and musically the most cohesive they\u2019ve ever sounded. They take the painful moments of their career, put them in a pink limousine, and drive them straight into a glorious, punk-tinged future. This record proves that the four-piece are no longer just survivors of the music machine; they are its self-assured, charismatic masters.<\/p>\n
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