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Do-Wah-Doo
Pop · 2010

Do-Wah-Doo

Kate Nash

Sixties girl-group harmonies collide with gritty London garage rock. A high-speed narrative of suburban jealousy driven by handclaps and surf-guitar stabs.

April 4, 2010 · Fiction Records

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Do-Wah-Doo is a masterclass in stylistic friction, taking the sugary DNA of 1960s pop and injecting it with the snarling energy of the UK indie scene. It sounds like a vintage jukebox found in a basement punk club, covered in stickers and beer spills. The production, handled by Bernard Butler, creates a dense wall of sound that feels both nostalgic and immediate, replacing the polite piano of Kate Nash's debut with distorted guitars and thunderous percussion. It is an album that feels like a hot summer afternoon in a concrete city: vibrant, slightly overwhelming, and full of character.

Moments Worth Listening For
The sudden shift from the breezy do-wah-doo chorus to the aggressive, spoken-word bridge where her London accent thickens and the guitars growl.
The way the drums crash in with a classic Motown-inspired beat immediately following the a cappella vocal intro.
The layered, chaotic vocal harmonies in the final thirty seconds that sound like a 1960s dream sequence dissolving into garage rock noise.
Where This Album DepartsEach spoke is a trait. The orange shape shows where this album pulls away from — or holds to — the rest of the artist’s catalogue. Tap for more.

How does Do-Wah-Doo sound next to the rest of Kate Nash's catalogue?

Summer+4.0σ

Summer saturates this record far more than the artist's norm.

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