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Months previous he had been working on new material with a focus on songwriting rather than tones and sounds and the addition of this new acoustic created a perfect match.. He took them to Ben Hillier to flesh out at his studio Agricultural Audio in Lewes. Together they found a spark and momentum and a collection of 10 songs were finished with their long time collaborator, and John J Presley's wife Danielle Perry. Instrumentalists Pete Wareham and Marcus Hamblett added extra colour and depth with their unique sax and brass textures. The album was engineered by Dan Crook.\u003c\/p\u003e\n\u003cp\u003eThe album sessions were fast and intuitive.. nothing went past the third take, and the panorama is wide - from crushing guitars to cinematic orchestration; New Orleans death march brass to motorik drum machines, layered vocal exchanges and moments of post-rock intensity. 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Just three years on from forming in Manchester, starting a band for the fun of it without so much as a plan to even play a gig, the quartet - Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O'Connell (vocals, bass) and Paddy Murphy (drums) - have crafted perhaps the year’s most exciting debut by simply figuring out what feels good, and following it into the horizon.\u003c\/p\u003e\n\u003cp\u003e\"There’s no computer that could make It Goes On. 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Jimmy remembers spending the bulk of 2023 playing the first five songs of an Elvis Presley album on repeat. “When we started the band, people would ask who was in it and we’d be like, ‘We got this guy who works in a guitar shop, only listens to Elvis and dresses like Marty McFly - you know, that guy!’” Aoife laughs.\u003c\/p\u003e\n\u003cp\u003eIf these were the solid early seeds of Westside Cowboy, then the biggest thing that’s shaped them into the exploratory, melodically robust band they are now, has been their own journey. When they did start playing gigs (their first two shows were at a coffee shop, and for an animal rights charity), they found that their songs were being stretched and pushed forward in real time. Paddy notes that the true crux of It Goes On’s propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.\u003c\/p\u003e\n\u003cp\u003e“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. Since then, they’ve toured with Black Country, New Road and Geese while, later this year, they’ll play their biggest headline gigs to date, including stop offs at London’s O2 Kentish Town Forum and Manchester’s Albert Hall. Winning the Glastonbury slot, says Reuben, felt like “the first moment that we realised we really were a band”. Now, with the making of It Goes On, Westside Cowboy have underlined exactly what kind of band they want to be.\u003c\/p\u003e\n\u003cp\u003eRecorded with producer Loren Humphrey (Geese, Cameron Winter, Wunderhorse) at Greenmount Studios in Leeds over a period that saw them thinking on their feet and remodelling their production into an even more directly energetic new form, there’s an urgency of feeling to It\u003cbr\u003eGoes On that could only ever really happen with a young group’s debut record. “First albums are often my favourites because you can tell there’s a point to prove. 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