Yard Act and Katy J. Pearson – When the Laughter Stops Review

This was a long time coming. Yard Act has had its talented hands on the cultural pulse for long enough to know the state of hard work. Frontman James Smith shared a glimpse with praise for the seminal work from Ian Winwood, Bodies. The last two years have seen an incredible change of pace to the UK music scene – and it should be no shock to listeners to hear those whose legacy is assured at such an early stage warn of the troubles of touring so frequently and the impact being in the spotlight has. Yard Act and the hands-on approach they had to those flutters of openness and chatter on The Overload is brought to the forefront on the latest single When the Laughter Stops. It still has the flavourful fun and pace of a Yard Act classic, but the Where’s My Utopia? single has a pressing intensity which lingers throughout.

Pairing with Katy J Pearson, the off-kilter thrills of the new Yard Act sound works well for When the Laughter Stops. Charting the slight sightings of something bubbling under the surface, the unkempt appearances and the dead-eyed stare from those burdened with troubles brought to the surface. Somebody had to. Yard Act addresses their desire to move on from their debut – not because they are tired of the sound but because going back to the well and expecting the same success from an already released piece of material is a foolish plan. Some do it and wither as a result. When the Laughter Stops, as great as it is, feels like a reaction to those who were getting comfortable with the Yard Act sound.  

In touch with the idea of keeping a listener on their toes, James Smith and company continue to divert expectations to new avenues of potential. Hits and misses are an exciting melting pot of new ideas, some working better than others. Spoken-word wonders on When the Laughter Stops rip open the reasons for forming a band or heading to a gig. Escapism from the horrors of the real world, the stagnation of work and those troubles resting heavy on the mind. When the Laughter Stops is not an exit from those pains in of itself but it does right to flag them with some nice tech flutters toward the end of the track. Closing on a sinister Vincent Price-like voice reciting Macbeth is a tremendous turn of form for Yard Act, whose punchy punk-oriented numbers are now backed by the historic scribbles of a man whose work rate was next to none. 

Not to lift from late burner 100% Endurance, but there is a sense of Yard Act grabbing people by their shoulders and screaming in their faces. Not of death and the destruction to come but a realisation that, if it is to come and the inevitabilities of life indicate it will, then it is not worth peddling it away with experiences which do no good. Tomorrow, and tomorrow, and tomorrow, is not at all worthy if the tasks and stresses are risible. When the Laugher Stops is a monumental challenge – finely written and paired well with an exceptional bit of vocal work from Pearson – its core message strikes through. No singular musical comparison with George Harrsion but the mentality rings through. His self-titled work settles in. All things must pass. When the Laughter Stops gets closer to the core of this desire to handle life better than any other artist so far this year. Early doors, but a necessary reminder from the Yard Act collective.