Callum Beattie—INDI

I have to admit I’m coming to Callum Beattie with no prior knowledge. A glance at his biography shows a viral breakthrough on YouTube, followed by two albums, first with Universal and then with one of its offshoot labels. He’s clearly enjoyed a measure of success, but for whatever reason he’s chosen to release this, his third album, independently. That decision, fortunately gives me the opportunity to cover him here.

The album opens with "Two Pretenders", instantly grabbing your attention and then holding it effortlessly. I’ll get the Scottish comparison out of the way early. There are faint echoes of bands like Travis in his vocal delivery, but they feel more like a subtle nod than an influence worn on his sleeve, and they place him in very good company.

"Bed Is Burning" continues at the same high energy pace, but this time with a more driving beat that propels the song forward. Like the previous track, it has a distinctly stadium friendly feel, the kind where you can almost sense the crowd’s energy feeding back into the performance. Towards the end, there's a synth/strings swirl that my ears couldn't help but pick up on.

Thankfully, we get something of a reprise with "Lanterns". I’m never quite sure whether comparisons to other artists help or frustrate readers, but I find them useful shorthand for capturing a sound. As this track opens, I couldn’t help but think of "Little Wonders" by Rob Thomas from the Disney film Meet the Robinsons. The resemblance is fleeting, but I love the way music can instantly unlock memories like that. The instrumentation here is strong, but for me it’s the vocal that truly elevates the track, carrying an added sense of intimacy and heart. Again the strings are used to excellent effect and really elevate the track.

The album’s ability to deliver yet another standout track in "Pins and Needles" has to be admired. The vocals are vibrant and engaging, while the music provides the perfect complement. It’s a masterclass in songwriting.

"Red" takes a slightly different turn. It opens with a clear nod to the 90s, perhaps even with a touch of the 80s. In the verses especially, the vocals adopt a darker tone and, dare I say it, carry a hint of Billy Idol. It’s a different flavour, but one that adds another layer of texture to the album, and in my view strengthens it as a whole. And again, I love the string lead out, which blends and extends into "Interlude on Tarrif St."

The previous interlude fades seamlessly into "Sounds of Sirens". Once again, we’re given a slightly different edge. The verses feature a vocal effect that lends them an almost radio-like quality, while the chorus opens up into a much cleaner, more direct sound. There’s also a synth line in the chorus, distinctly 90s in feel, which adds yet another pleasing layer of texture to the track.

With "Fireproof", we circle back to the style of the opening tracks. It’s a thoroughly crowd friendly song, the kind you can’t help but move to. Tracks like this also give Callum’s vocals room to shine. There’s a subtle hint of accent in his delivery which, to my ears, adds an extra touch of character and flavour.

Those memories come flooding back again with "Birthday", which instantly reminded me of T. Rex’s "Metal Guru". The similarity is fleeting, but I love the journey the song takes you on. Perhaps it’s coincidental, I’m likely a bit older than Callum’s core fanbase, but who knows what musical influences shaped him? Whatever the inspiration, everything about this track screams, out and out banger.

"Sunflower" is a pleasantly laid-back track, but don’t take that as any kind of criticism, it’s nice to have a brief respite. I was going to say it’s not quite a “lighters in the air” song, but then I remembered we’re no longer in the 80s, so it would be cell phones now. Either way, it’s a moot point, I never smoked anyway. Now, where was I?

OK I alluded to Travis earlier in this review, but I think that comparison really comes to the fore with "Eyes on you". It just has that flavour, with both the lyrics and the hammering piano style in the chorus. It's not a piano, but has that same feel. I'm guessing it's a keyboard of some sort. such a great track.

The album closes with "Always Rains in Glasgow", a poignant lament that truly rewards careful listening. It’s a slow, musically simple track, built almost entirely from piano and vocals. The delivery is gritty and heartfelt and dare I say, the Glasgow equivalent of Streets of London, but with modern day sensibilities. It provides a wonderful way to bring the album to a close.

Not hearing any of Callum's music before, it’s immediately obvious that he combines strong songwriting with engaging, versatile vocals that capture attention from the outset. His style occasionally nods to Scottish contemporaries and hints at 80s and 90s influences, yet remains distinctly his own, blending stadium-friendly energy with intimate, heartfelt moments. The arrangements are varied, incorporating driving beats, synths, strings, and subtle production effects, all of which enhance the textures and emotional range of the songs. His vocal delivery is vibrant and charismatic, with a touch of accent that adds character, and the album balances high-energy, crowd-pleasing tracks with slower, reflective pieces that reward careful listening.

This is a truly fantastic album, with heart and soul and all the ingredients of a modern day classic.