Broadside: Nowhere, At Last
After a long wait, Broadside delivers their fifth studio album with one of their most relatable, joyous and anthemic releases to date. ‘Nowhere, at Last’ is creatively polished, showcasing some of their sharpest lyricism and most infectious hooks. Thematically, it’s a rollercoaster of gleeful highs and self-reflective lows. The enigmatic vocals of Oliver Baxxter land on every track, pulling you into a cathartic sense of direction – even if that destination is a crossroads in the middle of nowhere. Complementing the music is a ’50s sci-fi, Twilight Zone style sound design, visually reinforced by the band’s recent music videos.
The first song, ‘Cherry Red Ego Death’, takes a narrative nosedive into letting go and the cycles of self-doubt we trap ourselves in. The opening hook, “You said I've become unlovable, waiting for somebody to rescue me”, immediately pulls you into that spiral. It’s contrasted by energetic pop-alternative tones from band members Domenic Reid and Patrick Diaz. Electronic reverbs amplify the vocals, culminating in a sharp, building end verse that explodes into a finale, setting the tone for the album’s 12-track run.
Continuing the journey is the title track, ‘Nowhere At Last’, a beautifully curated piece that experiments with classic synthwave textures. It pushes the listener toward acceptance, channeling the realisation that sometimes a “nowhere” mindset, a life at the crossroads, can finally feel like home. Tay Ewart’s drums kick off the track, while the infectious chorus, “finally nowhere, finally nowhere… at last”, lingers long after it ends.
Shifting gears into the toxicity of relationships is ‘Warning Signs’. It leans into the romanticisation of chaos, driven by heavier bass lines from Diaz. What elevates the track is its self-awareness, the sprinkle on top of all this chaos that even when it’s destructive, it can still feel addictive.
“Don’t wanna waste your time, but you can waste mine
Warning signs like neon lights all over the wall
It’s easier to act like I don’t see them at all”
‘Control Freak’ acts as the aftermath, reinforced by heavier chords and a mid-song breakdown. The retro-inspired production gives it a distinct edge, accentuating the emotional gut punch of its lyrics: “Is there any hope for closure while I’m burying my past? And every time I walk away, you stab me in the back”.
‘Dead Roses’ spirals through the wreckage, trying to make sense of what remains. Its melodic structure intertwines with synth elements to create a heavier atmosphere, anchored by a chorus that contrasts the self-deprecating verses: “don’t bury me with dead roses”. ‘Someone You Need’ follows as a companion piece, an open letter steeped in hindsight and longing, doubling down on the album’s melodic core.
The mid-album pivot returns to its retro, synth-pop foundation with ‘Mushroom Cloud’, opening with an R&B-influenced beat before shifting into upbeat alternative chords. It captures a romanticised “what if” at the end of the world.
‘I Think They Know’ is Broadside firing on all cylinders. Packed with catchy lyrics, engaging vocals and a tension-building breakdown, it leans fully into its paranoid tone. You’ll find yourself singing along as the anxiety creeps in. The track cleverly shifts from social anxiety to accusatory projection, before erupting into an emotional release. It stands out as a personal highlight.
‘Blissed Out’ pulls back from the chaos with exhaustion and defeat. Its ascending guitar lines mirror the climb out of that emotional void. ‘Dark Passenger’ continues that motif, with Baxxter weaving between restrained tension and explosive release. The textured layers and acoustic progression toward the end create a cinematic swell that carries into the album’s closing stretch.
‘What Are You Leaving Behind’ is frustration incarnate. Punchy chord progressions and breakdowns give Baxxter space to unleash both vocally and lyrically, capturing the feeling of losing control when life refuses to align.
‘Is This It?’ closes the album by turning the question back on the listener. It builds into a cathartic, chant-like finale that balances uncertainty with quiet hope for what comes next.
‘Nowhere, at Last’ finds Broadside at their most introspective and vulnerable. Each track stands strong on its own while contributing to a cohesive emotional arc. It invites reflection, offering validation in shared vulnerability. From its spiraling opening to its cathartic conclusion, it reminds us that sometimes it’s okay to exist in the in-between – finally nowhere… at last.