LAURAN HIBBERD: ‘GARAGEBAND SUPERSTAR’ ALBUM REVIEW
Sarcastic, nostalgic, and vibrant, Lauran Hibberd’s debut no LP is packed with artistic growth.
Last decade, pop-punk reached a rock bottom in terms of cultural success. Angsty hits were replaced by chart-friendly dance and mundane pop. But like any genre, it’s experiencing a revival. From Olivia Rodrigo to WILLOW, musicians are now eagerly leaning into the late-‘90s/early-‘00s tag.
And no one is doing it like Isle of Wight-born Lauran Hibberd. Her debut LP, comically-titled ‘Garageband Superstar’, brings in a winking nostalgia for the glory years of pop-punk. Hibberd’s long-credited influences are situated somewhere between the sonic intensity of Green Day and The Smashing Pumpkins, and she certainly has a similar ear for anthemic melodies; opening track ‘Rollercoaster’ is laced in late-‘90s punchiness, while ‘Step Mum’ could be a lost Blink-182 track.
Since playing the illustrious BBC Introducing stage at Glastonbury in 2019, Avril Lavigne comparisons have followed Hibberd, and she’s surely riding a similar wave of critical anticipation to that of Lavigne’s early years. Yet Hibberd shifts the sound of her predecessor into something completely distinctive with ‘Garageband Superstar’, on which her celebrated deadpan lyricism sets her apart. Hibberd has always had a gift for quick-witted wording, but this LP is especially packed with playful disses, typified on ‘Average Joe’: “he’s never let down by his right hand”.
Hibberd also has a talent of forging satirical lyrics, which often allows her to delve into more emotional topics. ‘Still Running (5k)’ – the first track released from the LP – is grounded in the feeling of being stuck in your hometown. Throughout ‘Garageband Superstar’, Hibberd weaves these shared experiences through her unique brand of slacker pop.
Many of these tracks could easily become live staples. Since 2017, Hibberd has emerged as one to watch in the festival circuit. Now, with ‘Hot Boys’ and title number ‘Garageband Superstar’ added to her repertoire, that label is assured.
Instrumentally, the LP eclipses her past efforts. Hibberd stresses she’s an album artist in an age of singles, and listening to ‘Garageband Superstar’ unshuffled – as she intended – demonstrates obvious musical growth from 2021’s ‘Goober’. The album is full-on from beginning to end, with each song stacked with walls of guitars. The slamming solo on ‘Last Song Ever’ is a particularly boisterous highlight, while the midpoint, ‘That Was A Joke’ also shines - it’s a perfect blend of the fiery choruses and infectious hooks present throughout the rest of the LP.
In a genre submerged by airplay domination at the hands of Travis Barker and Machine Gun Kelly, Hibberd will have no issues attracting listeners with ‘Garageband Superstar’. Her raw-edged instrumentals and elusive lyricism prove she’s a force to be reckoned with, promising her staying power in a genre that is notoriously difficult to crack.