Yellow Days swaggers back with sounds of the ‘70s on the funky ‘Rock And A Hard Place’
The musician returns with the follow-up to 2024’s ‘HOTEL HEAVEN’.
★★★★★
Photo: Georgia Jones
With the help of jazz fusion band Knats and the influences of George Clinton, Sly and the Family Stone and Stevie Wonder by his side, Yellow Days — aka George van den Broek — is coming of age on his latest LP that will leave listeners grooving.
Not many 18-year-olds can say they released a critically acclaimed debut LP (Is Everything Okay in Your World?) in 2017 and go on to collaborate with artists such as Mac DeMarco and perform at Glastonbury. That is what the singer, songwriter and producer has done whilst charming audiences with his richly expressive, soulful voice and blending irresistible melodies across a range of genres from indie and pop fusion to jazz and P-Funk in those nine years.
Following the surreal, indulgent escape of the inspired concept album HOTEL HEAVEN, Yellow Days returns with an album that feels more grounded, yet no less emotionally charged. On Rock And A Hard Place, you can hear Yellow Days deepening his signature funk-infused soul whilst wearing his inspirations on his sleeve to great effect, with the sounds of legendary artists such as Gil Scott-Heron, James Brown and his idol, Ray Charles, heard throughout.
A crescendo of instruments kicks off the album with the instrumental opener Roadkill turning the real life tragedy of a bird meeting its demise into a sonic picture. Special Kind of Woman follows the calm with what feels like an explosion of brass and rasp as Yellow Days croons “she’s as cool as ice” and “She’s as warm as the sun” about a Special Kind of Woman with his potent, raspy voice over classic soul grooves. The tight performance and production transports you to a night in a jazz club, served with a Marlboro and maybe a martini or two, setting up the album perfectly.
As soon as you hear the clavinet groove of Glitter & Gold, a jolt of pure rhythmic shock will leave you unable to stop moving to the beat. Think Stevie Wonder’s Innervisions, Higher Ground. Yellow Days escorts that sound into the present with stellar effect. Let Me Down Easy follows with a laidback arrangement and restrained vocals, which absolutely exemplifies the quiet fear of the emotional impact of a relationship heading for the end. The song centres on gentleness and consideration, asking for honesty without cruelty. The lyrics are simple and direct, which makes it feel sincere rather than performative.
Sharon and the immense Love Is Getting Complicated feature brass-heavy arrangements joined to the hip with the playing of funky keys that could have their own place in a Curtis Mayfield track. On the introspective Sharon, Yellow Days doubles down on the funk-soul as he ushers us into a late-night conversation with a needed friend as he sings “You bring such a sight for / My sore old eyes”. The song feels deeply personal, written with a sense of intimacy and like a memory that suggests reflection rather than immediacy as he confesses, “I’ve been having / such a terrible time”.
There’s a sincerity to Baby, I’m For Real that feels refreshingly unguarded. The performance is tight and warm, driven by the hug of the comforting organ, with Yellow Days delivering his vocals in a way that allows intimacy and vocal sincerity to lead the track. It recalls classic soul balladry in the form of Marvin Gaye and Al Green.
I Cannot Believe in Tomorrow leans into a funkier groove, echoing the spoken-soul urgency of Gil Scott-Heron, with rhythm and flow carrying as much meaning as the lyrics themselves. In contrast, Worried I’ll Break Your Heart pulls back vocally, letting carefully layered instrumentation do the emotional work. Together, they show two approaches to vulnerability. One driven by rhythm and voice, the other by space and texture.
The funky wah of the guitar and a hypnotic, driving rhythm section keeps the infectious Shoot Me With Your Love Gun sustained over seven minutes without a single ounce of fatigue begrudging the listener. The song taps subtle inspiration from Sly & The Family Stone and a hint of Tame Impala-esque psychedelia, leaving a confident, flirtatious track that does not sacrifice musical discipline.
Together, Daylight Miracles, California, Can’t Fight the Tears, and You Didn’t Leave Me form a gentle, reflective stretch of the album, unified by tasteful instrumentation and emotional clarity. Each track leans into space and subtlety, using soft chord progressions, laid-back grooves and warm tonal textures to create intimacy rather than spectacle.
Rather than dramatic peaks, this sequence finds its strength in consistency, highlighting Yellow Days’ mature approach to arrangement and his ability to let mood, groove and restraint do the storytelling. This final stretch feels like the end of the night as the cigarette smoke starts to clear and glasses are empty, feeling like closure to the perfect night.
Rock And A Hard Place feels like a late night in a jazz club. Controlled, unhurried, and emotionally observant, where funk, soul, and blues unfold with quiet confidence rather than spectacle. There’s a sound of maturity hitting across the album that makes this some of his best work yet.
Rock And A Hard Place is out now via Independent Co.