Rockidle – Not the Leftovers!
Derek Hagan’s latest offering as Rockidle arrives with the defiant title “Not the Leftovers!” – a statement that immediately sets expectations for an artist who has something to prove. This fifth collection from the Irish songwriter, now based in Finland, tackles weighty contemporary themes with the kind of refreshing directness that’s become increasingly rare in today’s cautious musical landscape. Working alongside collaborators Tania Sheratte, Matt Cowley, and Hazze Wazeen, Hagan has carefully crafted twelve diverse tracks that feel less like traditional songs and more like urgent dispatches from modern life’s complicated front lines. The opening “The Social Media Generation” doesn’t waste precious time with subtlety – it’s a sharply pointed examination of Gen Z culture that skillfully avoids the usual generational finger-wagging through genuine curiosity rather than easy condemnation.
The album’s greatest strength lies in Hagan’s unwavering commitment to traditional storytelling principles. These aren’t abstract mood pieces or atmospheric experiments but fully realised narratives with clear dramatic arcs, particularly evident in standout tracks like “The Beginning of Her End” and “The Girl That Love Made Blind.” His methodical approach to songwriting feels refreshingly old-school in an era of stream-of-consciousness lyricism – there’s a proper beginning, middle, and satisfying end to each carefully constructed piece, with lyrics that communicate something meaningful rather than simply creating vague emotional atmosphere.
Musically, the production draws from a broad palette spanning the 60s through the 2000s, creating a sound that feels both nostalgic and immediate. The inclusion of “Change acoustic (a del mix demo)” is a bold choice that works surprisingly well, its rawness providing welcome contrast to the more polished arrangements elsewhere. “Disease of Despair” and “Here B4 the Money” represent the album’s most ambitious moments, tackling medication dependency and football’s commercialisation, respectively. These could have easily become preachy manifestos, but Hagan’s storytelling instincts keep them grounded in human experience rather than abstract politics.
The collaboration with his various musicians feels organic rather than forced, with each contributor adding texture without overwhelming Hagan’s central vision. There’s a lived-in quality to the performances that suggests these songs have been road-tested and refined rather than simply recorded and released. Tracks like “Heavy Burden” and “Barriers” showcase Hagan’s ability to address serious subjects – with “Heavy Burden” exploring the sacrifices people make in life, sport, business, and music to achieve success, while “Barriers” tackles age discrimination – without losing sight of the human stories at their core. “Why is love so hard to find?” provides a more intimate moment, while “The Enemy” delivers one of the album’s most compelling character studies.
While the album occasionally feels weighed down by its seriousness, there’s an undeniable sincerity to the entire enterprise. This is music made by someone who genuinely believes songs should matter, should say something worth hearing. “Not the Leftovers!” ultimately succeeds as both a compelling collection of individual character studies and as a cohesive artistic statement about navigating contemporary life’s complex challenges. It’s the mature work of an experienced artist who has found his distinctive voice and isn’t afraid to use it boldly, consistently delivering uncomfortable truths with genuine conviction and hard-earned wisdom. (7/10) (Rockidle)
