Beatrice Laus, better known as Beabadoobee, is the Filipina-British princess of bedroom pop. Back and edgier than ever, the 26-year-old’s new album, Pylon, has the perfect mix of allure and uninhibited angst that screams female rage. Influenced by the likes of Elliot Smith, Alanis Morissette and most recently, Bloc Party, Pylon is Beabadoobee’s most honest and genre-bending work yet.
Released on Sept. 18, Pylon is Beabadoobee’s fourth studio album, following her 2024 record This Is How Tomorrow Moves and latest standalone single, “All I Did Was Dream Of You” ft. The Marías. Amongst others, Laus worked closely with Shane Moran of Title Fight, who collaborated on eight out of 14 songs.
You may be asking, why Pylon? Picture this: being on the road, feeling isolated and disconnected from reality. Electricity pylons symbolized connections near and far, which was something that Laus craved – a sense of community. Laus’s sultry vocals and guitar-heavy melodies are taken to the next level with a special driving force: mid-twenties anxiety.
The title track “Pylon” kicks off the album, showcasing Laus’s permeating thoughts of homesickness. Although slow in tempo, it’s short and sweet, setting the scene for her perspective. “At least we’re connected / Like a pylon on an open road,” she laments. Similarly, “Despite That” touches on the aftermath that distance can cause while being on the road.
Following this is “Sun Has Set,” the ‘90s-grunge-meets-pop-punk single released on June 24. Laus leaned into the unexplored world of pop punk in this track, picking Moran’s musical brain throughout the process. Ditching her classic soft-spoken nature, Laus tests her limits by pushing herself vocally. Melodically, the poignant guitar riffs are sharp and intense, making this perfect for moshing.
This track has a bite to it, making it one of Beabadoobee’s most anger-filled releases to date. Toeing the line between unapologetic resentment and inevitable sadness and disappointment, “Sun Has Set” is a declaration not only to the ex-lover, but to herself that their connection is too late to amend.
Next track is “Estranged,” which addresses the hot-and-cold tug-of-war of said toxic relationship. “In Motion” hones in on self-reflection, struggling to balance the emotional versus logical self. In a similar vein, “Switchblade” is equally as cut-throat, exuding a sense of edginess and disjointedness, reminiscent of Midwest Emo. Released on July 14, the second single starts with acoustic guitar that transitions into a distorted, gritty guitar. Lyrically, Laus is fighting an internal battle within herself: whether or not to fight or flee a potential threat. Much like “Sun Has Set,” this song reflects on a relationship that has gone sour and the importance of self-preservation as a woman. You can read our full in-depth “Switchblade” review here.
The third and final single of Pylon, “Memories,” is nostalgic, dreamy and slower in tempo; this track is easily one of the happier ones on the album. “Memories” is very quintessential Beabadoobee: vulnerable and bittersweet. With airy vocals and acoustic guitar, Laus recalls, “The smell of rain on the pavement / It’s 3 a.m. and I thought of you.”
Likewise, “Radio” is a melancholic anthem about running out of time, featuring chunky guitar riffs, while “It’s Alright” is intrinsically about yearning, restlessness and being in love. Juxtaposing this is “Spark,” co-written by Evan Stephens Hall of Pinegrove. Laus alludes to playing with fire and re-evaluates her preconceived notions about the relationship.
Pylon has four notable features on the album: “Nothing To Prove” ft. Hayley Williams, “Powerlines” ft. Brendan Yates and “Satellite” with Chino Moreno. “Nothing To Prove” is about letting go and accepting one’s fate, with a take-that attitude. Williams’ backing vocals elevate the upbeat track while emphasizing Laus’s staunch lyrics.
“Powerlines” is elevated by Brendan Yates of Turnstile with his deep, rich vocals throughout the song. This pop-punk duet is about longing, using the infrastructure to represent a reminder of distance. Surprisingly, their voices blended well together, which added another sonic layer. “Through my pain, you’re ecstasy, let the rain fall,” they sing in unison.
Finally, there is “Satellite” with Chino Moreno of Deftones, favoring raspiness and guitar feedback. Moreno’s backing vocals paired with heavy drums create a sense of fullness in tone, building to the uneasiness of the song.
Pylon also features notable producers, specifically on the introspective “Write Me A Letter.” Beabadoobee is signed to Dirty Hit Records, which is home to one of her biggest inspirations, The 1975. “Write Me A Letter” was produced by Matty Healy and George Daniel of The 1975, making this a dream collaboration for her. The song in nature sounds very 1975-esque given the collaborators, from the title to the piano to the synth, but gives it that perfect Beabadoobee spin that fans love in her music.
Overall, Pylon is an impressive, genre-bending fourth project by Beabadoobee that will capture the attention of beloved fans and surprise new listeners. From the expansive set of collaborators to Laus’ sonic transformations, there is something on this album for anyone.
Get tickets to Beabadoobee’s Powerlines World Tour, which resumes on Oct. 1, here.
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