EVERYONE’S A STAR! 5 SECONDS OF SUMMER RETURN WITH REFLECTIVE NEW ALBUM
ALBUM REVIEW | 5 SECONDS OF SUMMER – EVERYONE’S A STAR by Lucy Holden
More than a decade after they first entered the music scene, Australian four-piece 5 Seconds of Summer (5SOS) is back with their sixth studio album, Everyone’s A Star!. Formed in 2010 and hitting peak fame after touring with One Direction in 2013 – a stark contrast to their humble beginnings doing covers in a garage with floppy emo haircuts – the band has since sold out arenas worldwide. This new record, released on November 14th (the first since 2022, following a period of solo endeavors), serves as a confident, often ironic reflection on their time in the spotlight.
The album embraces a playful, self-aware pop-star persona, exemplified by their pre-release slogan, “Your favourite boyband is back!” and the use of a pink limousine for press stunts. As Michael Clifford (lead guitarist) noted in an interview with Zane Lowe, the ethos of the album is to simply “have fun with it and all just be the biggest versions of ourselves.” The result is a short but pleasant listen, clocking in at just under 45 minutes, defined by a thrillingly new sound: a mature blend of punk energy meeting experimental pop.
The album kicks off with the title track, “Everyone’s A Star!” , which serves as the focus track. Starting with a speech intro, the song is a layered, high-octane reference to early fame and the negative pressures young bands face. It keeps the old-school 5SOS style but is elevated by an undeniable focus on Hemmings’ voice. His insane vocal range and high notes are a hyper-focus here, giving the track a hypnotic, almost Halloween-like scare factor—like Hex Girls meets Nickelback and early Radiohead. The core message—‘Everyone’s a star baby’—is about escaping the industry’s grapples to finally produce their authentic selves.
The album then moves into the trio of brilliant singles released in the lead-up:
“Not Ok!” is energetic, catchy, and mature. With its rhythm section being particularly strong, the track features influences that are almost possessed by Gorillaz, particularly through an early, retro Ashton vocal that sounds like it’s filtered through a static megaphone. It’s the adult version of their early punk roots, now free from the big bad music industry’s constraints. The lyric “you and I together double homicide” is an instant standout.
“Telephone Busy” is preppy, poppy, and ready for the dance floor. The instrumental is a playful mix of industrial textures and bright pop, setting a cheeky, sarcastic mood. From the opening “Da-da-da-da” intro by Ashton and Luke, the band is self-assured and mischievous. Lyrics like ‘does my memory make you wanna kiss me?’ and Ashton’s tarot card references paint a picture of someone confidently and casually navigating fleeting romances.
Clocking in at under 3 minutes, “Boyband” is a witty, self-aware, and irresistibly confident statement. The opening sound of a photograph being taken is a clear nod to paparazzi and fame. The chorus is a magic hook, blending repetition with a sly longing, referencing the industry’s painful moments with lines like “make that monkey dance.” The track sees 5SOS reclaiming their narrative from the generic “boyband” label, turning what was once used to control them into a powerful anthem.
The momentum continues with “No1 Obsession”, where the guitar-heavy music signals a definitive return. With opening lyrics like “I know that boys don’t cry but I got teary eyes,” the track is like The Cure meets 2025. Luke’s falsetto is simple and perfect, while the punchy chorus and backing vocals create an infectious toe-tapper. It’s deep without being sad, showing a new direction through layered, soft vocals over heavy drums.
A personal highlight, “I’m Scared I’ll Never Sleep”, feels like a return to the band’s old-school B-sides mixed with The 1975’s early sound. The title itself is raw and unique. Luke’s vocal sounds pained and gorgeous, especially with the unmissable ‘talking’ sound throughout the track, making it a definite tearjerker.
“I Still Feel the Same” initially echoes The Weeknd before transforming into a bombardment of pop-punk guitars and a beautiful, melancholy synth sound. The collaboration between Michael and Luke’s vocals melts the heart, especially with lyrics like “Kiss me like you mean it.” The track slows down in the last 30 seconds, capturing a driving-in-the-rain soundtrack feeling.
The undeniable emotional gravity of the album resides in “Ghost”, a track distinguished by its collaboration between Luke Hemmings and his wife, Sierra. Stepping away from the band’s typical dynamic, the song adopts the reflective, introspective framework established during Hemmings’ solo ventures. It feels deliberately sparse and moody, utilising textures to amplify the poignant lyrical content. It really is a raw exploration of anxieties, encapsulated in the confessional line: “you and I are haunted by a similar ghost.” This song itself confirms 5SOS‘s mastery of understated, devastating balladry.
“Sick of Myself” delivers a surprising surge of summer down under, using its vibrant sound to counterbalance the weight of its solemn lyrics. The track successfully captures a blend of depth and pure pop catchiness, reminiscent of classic new wave acts. This creation was made possible by the perfect partnership of Michael and Luke; the song serves as a beautiful testament to their combined genius and the intuitive, collaborative fluency they share.
Track 10, “Evolve” one of the longer songs, is an instant head-bouncer that is rhythmically charged, clearly showcasing Ashton Irwin’s influence. Ashton is unapologetically himself on this track, delivering unreal drum beats and dreamy vocals with lyrics like “I wanna get high, I wanna get drunk, I wanna do drugs, I wanna make love, I wanna get fucked,” and the call-out to the “pink limousine.” The bridge, featuring a woman speaking over the music, is a fantastic, Black Mirror-esque touch.
“The Rocks” instantly features a “woah” that feels like a purposeful nod to their first big single, “She Looks So Perfect.” It’s a rhythmic, punky, and 2000s-infused track, relying on the band’s groove and grit. It’s a very serious track lyrically, with sharp interrogations of parasocial relationships and the expendable nature of pop stardom—another nod to being famous so young.
Acting as a grand finale, “Jawbreaker” is an exceptionally rich and grounded track. It uses a commanding, heavy drum beat to solidify its place as a massive, sweeping album closer, underlining the sheer force of the rhythm players. The song effectively serves as the entire project’s anchor, wrapping up the diverse emotional threads of reflection and personal evolution with the feel of an epic, world-ending movie soundtrack.
Everyone’s A Star! is not just a return to the band’s punk-pop roots; it’s a defiant evolution. By leaning into the very label they fought for years, 5 Seconds of Summer has crafted an album that is witty, deeply reflective, and musically the most cohesive they’ve ever sounded. They take the painful moments of their career, put them in a pink limousine, and drive them straight into a glorious, punk-tinged future. This record proves that the four-piece are no longer just survivors of the music machine; they are its self-assured, charismatic masters.
