And yet both might have actually done them a favour, judging by this overdue debut, which is specifically – and blatantly – about Bailey’s creative struggles, and sees the band mostly move away from the half-spoken post-punk observations that were derided as quickly as they became fashionable again in 2020. The pandemic slowed Do Nothing down, and then Bailey’s writer’s block nearly finished them off. But others – many others, it turned out – had had a similar idea, and the sardonic sprechgesang race to the charts was ultimately won by the not dissimilar Yard Act the Arctic Monkeys to everyone else’s Milburns and Reverend And The Makers, a band who, ironically, Do Nothing also sounded like on that breakthrough track, ‘LeBron James’. It had been a while since a group so Steve Lamacq-able had come up with a line as enjoyable to recite as, “The results are in and it looks like everyone gets a big old slice of nothing”, and for singer Chris Bailey to roll it around his mouth and spit it out like a pop Mark E. At the dawn of 2020, Nottingham band Do Nothing looked like they were destined for instant mainstream indie success.
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