The Darkness’ ‘Dreams on Toast’ plays it delightfully unsafe

Since forming, breaking up and reforming, The Darkness have been pioneers of 21st century glam rock, keeping campness in the mainstream. In Justin Hawkins, they have one of the most powerful and easily recognisable voices of a generation; he is perhaps the closest thing the contemporary music industry has to Freddie Mercury. Indeed, the band’s parallels to Queen are blindingly obvious; Roger Taylor’s son Rufus is their drummer and Brian May has appeared as a guest in their live shows. These aren’t their only famous friends, as a recent video of Taylor Swift singing along to their iconic 2003 belter ‘I Believe in a Thing Called Love’ catapulted it to number one in the US rock charts. 

In an interview conducted with Steve Hobbs, Hawkins’ former bandmate, it becomes clear that The Darkness, who he described as “just fun” and “firmly tongue in cheek”, are imbued with confidence and talent. Hobbs, who met Hawkins when he was just 15, noted the ‘work ethic’ of The Darkness as essential for their success, highlighting milestones such as ‘selling out Hammersmith Apollo before they had a record deal’. Notably, Hobbs centred Hawkins’ creativity, asking “who else would have taken that and put it on an album?” when discussing the concept of 2003 track ‘Black Shuck’. This creativity, as well as their confidence and talent, are all well demonstrated in Dreams on Toast.

At one point, Hawkins chimes “I don’t need a woman to behave like a man”, proving that the band are still intent on maintaining their cheeky immaturity and carefree spirit

Despite their widespread recognition, The Darkness – much like Queen – are not afraid to completely take the mick at times. Take their hit single ‘Christmas Time (Don’t Let the Bells End)’, if you see what they did there, as an example. Make no mistake though – they take their work somewhat seriously as demonstrated by this daring genre-spanning album. 

All seems to be almost in order on its opener ‘Rock and Roll Party Cowboy’, where a trademark electric guitar screech kickstarts a beginning that has shades of early AC/DC (yes, endearing lyrical sloppiness included). We soon find out, however, that the album might be aimed at a more eclectic audience, with the next song, ‘I Hate Myself’, seeming to be inspired by ’50s jukebox rock. It’s the kind of thing you might hear in a bar comprising of men in skinny jeans and cowboy boots.  

Hawkins’ higher octave is tested from here on out with a blues number, which is surprisingly upbeat, preceding a pop ballad. At one point, Hawkins chimes “I don’t need a woman to behave like a man”, proving that the band are still intent on maintaining their cheeky immaturity and carefree spirit. Up next is ‘The Longest Kiss’, which goes all in on ’70s synthesiser, inspired by Queen and Paul McCartney, sounding a lot like ELO’s ‘Mr Blue Sky’. Still to come is a posh rap-infused nod to noughties indie classics, an almost crude folk blue grass track and a more familiar anthemic rock tune that recalls The Darkness’ breakthrough album ‘Permission to Land’. We end on ‘Weekend in Rome’, where Hawkins and a husky American voice guide us through a deliberately kitsch love song.  

There is definitely some credit owed to The Darkness for just tearing up that rulebook and doing something a bit wacky with Dreams on Toast

Overall, it’s a cunning approach that attempts to appease everyone and that must be admired. Some who are more intolerant towards music diversity would struggle with it due to it not possessing a particular hallmark, and you wouldn’t immediately know without seeing the album sleeve that you were listening to The Darkness. It’s a welcome change of pace to see artists prioritise fun over theme, with music often feeling repetitive as bands seem to be encouraged to put out similar material each time. There is definitely some credit owed to The Darkness for just tearing up that rulebook and doing something a bit wacky with Dreams on Toast, just as The Beatles did all those years ago.

Hawkins is magnificently provocative about this, informing us that these songs are ‘wallowing in an aromatic aural ragu, served atop the charred remains of our envious contemporaries’. It takes a huge amount of guts, not to mention musical genius, to produce something this explorative and I certainly found myself just a tad jealous. A pure explosion of joy, not just for rock fans but for all those who depend on music, could be just what we need in a world of sorrow.

Recommended Listening: ‘I Hate Myself’, ‘Mortal Dread’ and ‘The Battle for Gadget Land’

★★★★