> ## Content Index > Fetch the complete content index at: https://the-haps-magazine.ghost.io/llms.txt > Use this file to discover other available public pages before exploring further. # Westside Cowboy – It Goes On “The antidote to indie-landfill, and a prelude to something far more ambitious” - URL: https://the-haps-magazine.ghost.io/westside-cowboy-it-goes-on-the-antidote-to-indie-landfill-and-a-prelude-to-something-far-more-ambitious/ - Published: 2026-09-17T13:03:29.000Z - Updated: 2026-09-17T18:22:35.000Z - Author: Jordan Lewis - Tags: Reviews ***It Goes On*** is the highly anticipated follow up to **Westside Cowboy’s** EP *This *Better be Something Great* *& So Much Country ‘Til We Get There*.* Having earned a cult following in their first EP with a very Libertine’s inspired **‘*Alright, Alright, Alright’* *,*** the band truly finds its feet with **Drunk Surfer*,* in which vocalist **Jimmy Bradbury** discovers his signature vocal style within a layered arrangement of hugely overlooked talents in the rhythm section, including a Pixie’s style vocal contributions from **Aoife Anson O'Connell**. The emerging talents have earned their stripes on the road supporting Geese in the completely sold out *Getting Killed* European tour and showing no signs slowing down. So how does their debut LP sound? Let’s get into my first thoughts... --- **Kick Stones (The Boys)** ‘Kick Stones’ rips off the stabilisers as a statement of intent for Westside Cowboy. It comes as no surprise this was such a hit amongst indie circles, the lyrics evoking a sense of meditative mantra riding the workhorse of an endless crescendo. The rhythm section shines in driving the energy forward, for what is easily in contention for the best breakthrough single of the year. **Paperchains** With an opener akin to Dr. Feelgood’s ‘She Does it Right’, Paperchains rides the wake of Kick Stones with gorgeous instrumentation. **Dobro** Westside’s influences are laid bare in this track, with sections of this song entering a state of metachrosis. Guitars slide between the blues-y swagger of T-rex and a Loaded-era Velvet Underground, with a number that, if blindfolded, you’d think was pulled directly from a Strokes record. **Well Done Kid, You Did It** A step down in tempo, with a focus more in introspective lyricism, and the sense of a stopgap between tonal shifts as the album progresses. **Worried Age** We’ve reached the high-water mark in song writing here, tackling the quiet desperation of the insecurity of youth, and the anxiety that comes it. With Jim’s poignant lyrics supported with harmonies by Aoife Anson O'Connell, who’s vocal contributions grow on me with every listen. She brings so much character with her unique voice, and I’d love to see that nurtured into an almost Kim Deal-like role in future recordings. ![](https://storage.ghost.io/c/00/85/008566f6-a11c-46ed-b2e6-110941c73c3c/content/images/2026/09/westside-1.png) **Big Wheels** A beautifully melancholic ear worm, leaning heavily into that Lou Reed territory with catchy vocables which will not let go when hooked. **Pin Up Boys** Everybody shines on this track – which has quickly become a fan favourite amongst gig-goers. Aoife once again making her mark with a very Cranberries-like performance, in a song that MUST be heard live to be truly appreciated. **CoyoteCoyote** A black mirror, with each verse a pointed barb at progress done for progress’ sake “This is the most beautiful place on planet Earth, and I'm killing it with every step”. The final verse is the prelude to an outburst, the anger after despair, in a maelstrom of noise. **Patchwork** A painful contemplation on self-loathing, with wistful melancholy delivered wax-sealed on piano strings. **Take My Leaving as I Love You** A sombre, stripped back song with a beautifully accompaniment of a steel guitar. Superb production on this track under the watchful eyes of Loren Humphrey, who collaborated with Geese and on Cameron Winter’s solo masterpiece ‘Heavy Metal’. You can see the fingerprints of that work rub off on the latter half of this record. **You Could Have Died There On The Dancefloor** A real punchy bassline + rhythm section drives this encore home, to sign off on a very vulnerable second half to this record. --- ![](https://storage.ghost.io/c/00/85/008566f6-a11c-46ed-b2e6-110941c73c3c/content/images/2026/09/westside3.png) This album delivers as a strong jumping off point for **Westside Cowboy**. In an era of ‘Indie Poo’ – now synonymous with the Gen Z indie ‘landfill’ of the 2010’s, this debut stands far above the pile that blights a genre saturated in bands trying to *emulate* what came before, rather than *innovate*. Bolstered by a powerful rhythm section, strong vocal performances and poignant lyrics, Westside Cowboy have yet to hit their glass ceiling, and we can’t wait to see how they evolve their sound in the future. And can I give honourable mention to their criminally overlooked cover of ‘*This is The Day*’ by *The The* on the BBC Radio 2 Sofa Session. There’s a subtle sense of irony with the final lyrics to this song, which encapsulates my feelings towards this album as a highly anticipated debut, from a group oozing with raw talent and potential: “Oh I am everything but perfect, but I’m trying… so please keep me around”. ![](https://storage.ghost.io/c/00/85/008566f6-a11c-46ed-b2e6-110941c73c3c/content/images/2026/09/Screenshot-2026-09-17-074853.png) **Westside Cowboy** have recently announced their next run of headline shows across the UK, Tickets can be found on their website! See you there!