Towa Bird - Gentleman

One can only wonder at the decision-making that led to ‘Gentleman’. At the release of 2024’s ‘American Hero’, it seemed Towa Bird was well on her way to cult status: a more accessible St Vincent perhaps; to future guitarists what Blu DeTiger is to nascent bassists; MUNA adjacent, maybe, switching the ‘alternative’ and ‘pop’ in their respective infusion of distinctly queer touchstones into their songwriting. While perhaps not the complete breakthrough Towa – or, likely more specifically, her teams – wished for, it’s still strange that, for the most part, this follow-up feels a regression. The sentimental strings of ‘Afterglow’ sound like an ad soundtrack who couldn’t afford M83 themselves; ‘Your Girl’ does similar with Jimmy Eat World’s ‘The Middle’, and it’s literally possible to sing the chorus of Katy Perry’s 2008 hit ‘Hot ‘n Cold’ to that of ‘Don’t Wanna Hear About It’. That ‘Gap In Your Teeth’ kicks in like a lost Charli xcx ‘Sucker’ number at least fits Towa’s vibe, but the song is otherwise forgettable. Even with the title track and opener, which at least rips in with a Bloc Party-esque riff, it’s entirely obvious where the song is about to go at all times. It’s all almost aggressive in its pursuit of radio friendliness. 

Which, in turn, makes ‘All Gone’, a track not only featuring bona fide legend Kathleen Hanna, but managing to sit sonically halfway between her own Bikini Kill and Le Tigre, all the more outstanding – and confusing. The disco punk drums pummel joyously, the bass groove tips its hat to indie sleaze, Towa’s delivery finally offers oomph as it introduces her guest in a manner that’s entirely missing throughout the rest of the record – and works so wonderfully, even before Kathleen has reached the mic. Unlike most here, this feels authentically ‘her’ and not a calculated go at chart success.

There’s an argument, too, for ‘69 BPM’, which, with a little less bells-and-whistles on the production front offers a smart lesson in matching sound and lyrics: the song’s overt use of woman-as-guitar trope met with blending Towa’s vocal with the instrument’s squall as she sings of ‘playing’ her instrument. Similarly, the decidedly Strokes-esque sound of ‘Daisy’ may sit better if not alongside other seemingly intentional sonic calls.

‘You can do better’ is mostly a phrase offered to women who settle for a less-than-stellar man. For Towa here, it’s entirely apt for a less-than-stellar ‘Gentleman’.