Yungblud Drops His Most Profound Album Yet: 'Idols'
At a time when mainstream music often leans on formulas and trends, Idols sounds like a refusal. It’s messy, emotional, and urgent—on purpose.
Yungblud isn’t just releasing music—he’s challenging the machinery behind it. With his latest album Idols, the British artist takes a scalpel to the culture of instant gratification, influencer noise, and disposable art. In a recent conversation with Wall of Sound, he opened up about his mission with this project, touching on collaboration, grief, and the overlooked simplicity of living fully.
What makes this release especially potent is that Yungblud didn’t turn to a flashy mainstream outlet to promote it. Instead, he chose to speak with a smaller publication, Wall of Sound, a move that speaks volumes about where his values lie. For someone sitting comfortably at the top of the UK rock scene, his decision to remain accessible and grounded is telling. He isn’t just promoting an album—he’s pushing a conversation.
At the core of Idols is a resistance to the kind of music designed to be forgotten after 15 seconds on TikTok. This is a body of work meant to stay with you. The standout track Zombie digs into the weight of personal loss, unfolding in a hospital setting in the accompanying music video. That video features none other than 
Florence Pugh, whose presence gives the narrative an emotional punch that doesn’t feel manufactured. Her involvement feels like a shared belief in what Yungblud is trying to do: tell stories that matter.
Perhaps the most telling moment of the album’s creation came with the song Change—a track so personal, it reportedly moved Yungblud to tears once it was finished. That emotional rawness defines the entire record. Idols is not interested in pretending. It’s not trying to be sleek or algorithm-friendly. It’s an unfiltered push against the concept of celebrity worship, music-as-merch, and the obsession with branding over meaning.
Yungblud wants us to stop idolizing and start feeling again. The album’s title, Idols, isn’t an embrace of stardom—it’s a rejection of it. He’s turning the lens back onto the fans, the culture, and even himself. What are we following, and why?