The band’s latest takes what’s worked and builds on it.
Cover art courtesy of New West Records
Good morning!
Today we’re taking a look at Singin’ to an Empty Chair from Ratboys
With a band like Ratboys, there will inevitably be people claiming they’ve been around since Day 1, checking their watch, and wondering what took the rest of us so long.
I am not one of those people.
I was late to the party, arriving like I assume many people, with 2023’s The Window. By that point, they’d been around almost a decade. And as much as I’d like to cash in some hipster cred and cite some arcane influence and trace it back to another equally cool band, it was for a much less cool reason: they have a track named after a city near where I live (“Black Earth WI”). It’s also worth noting that the band and producer Chris Walla decamped to rural WI for some of the new record’s early tracking.
Like most everyone else, I quickly fell in love with the fuzzy riffs, the elements of power pop, and the way it felt so alive. It felt like a debut record from an overnight success (it wasn’t).
Those same high expectations have wrecked countless follow-up releases. Would they keep the momentum going, or would it feel like they’d lost their fastball?
Part of Ratboys appeal is their absurdly good ability at building emotional see-saws in their songs. If The Window did well to blend sweet melodies and crashing riffs, Singin’ perfects it.
“Know You Then,” one of the record’s chunkiest songs, turns the refrain—“I didn’t know you then”—into something way more potent and possibly painful.
I mean:
Kept it to yourself
You couldn’t make a sound
Oh, I would have been there in less than a second
If time and space allowed
Oof. If you ever stood quiet while someone else was being bullied, this one’ll give you pause. No idea if that’s what Julia Steiner had in mind while penning this, but that’s sure what I took away from it (and lemme just take this chance to retroactively apologize to anyone that might’ve been caught in the crossfire of my childhood).
“Anywhere” is a straight ripper, and utterly infectious. That’s really all I need to say about that.
For a Chicago band, “Penny in the Lake” sure sounds like it came from Kentucky (or at least southern Illinois). They’ve always dabbled in Americana—and Black Earth is far enough out of the city that I’m counting it— but here they go all in. It’s delightfully breezy and more countrified than anything else on the record.
“The World, So Madly” will evoke the best parts of Belly and Tanya Donelly.
From here, things slow down and slowly morph into something heavier. “I Just Want You To Know The Truth,” “What’s Right?” and “Burn It Down” are an incredible 3-song run. Longtime readers know I’m a sucker for a good outro, and the latter has one that’s as good as any out there. It’s one of the highlights of the whole record. YMMV.
All of that leads up to “At Peace in the Hundred Acre Wood,” a disarmingly quiet(er) closer that feels like closure as much as anything else.
With all of that as context, Singin’ to an Empty Chair feels less like a reinvention and more like refinement. They didn’t fix what wasn’t broken, or take a stab at some sort of “new creative direction.” They haven’t lost any heat. The band knows what they’ve got and what we want. You still get what you expect from a Ratboys record, but it all locks in with a clarity and purpose that wasn’t always there before.
As always, I’d love to hear your thoughts on the record! Did I get it right, or am I way off the mark?
Thanks for being here,
KA—
Kevin Sent 
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