‘Put A Smile On For Me’ is destined to make a dent in this current indie/alternative movement. London-rooted band Keo have fed the fans what they have yearned for, an eleven-track album of Keo wearing their hearts on their sleeve. Known for their raw emotional performances that cut deep into hearts nationwide, this album could very much capture some emotions you don’t even know you have.
‘Be happy’ kicks this album into gear with formidable force, luring you in with Oli Spackman’s teasing drumbeat, inviting in a grunge induced guitar sound with Jimmy Lanwern’s lead lines which run rings throughout your mind. Finn Keogh’s lyrics illustrate the pure desire to feel happy, with the emotion pouring out on this track with each word he sings, and in my opinion portraying the feeling of jealousy. The lyrics “To be happy, just like you, To be happy, if that stuff’s true”, paints an image in my mind that the character Finn has created is encased inside their own head, watching from the sidelines, envying anyone who can in fact “Be Happy”. This song enters you into the perspective of an emotional and vulnerable character and sets the tone for what’s to come with the following tracks.
Five isolated guitar notes ring out, and that’s when you know you’ve pressed play on the next tune on this album. “That’s Me”, delivered with urgency, and played with passion, doesn’t just touch over the feeling of self-discovery, it completely and utterly absorbs it. Lanwern’s undeniably lively guitar lines are electric. These blare behind Finn’s vocals with pride, the lyrics representing who this character is, who’s to blame, and the negative thoughts. Just reading the lyrics alone, you would assume it’s a more depressing track. Don’t be fooled. One listen and this song sticks. This song is worn on the sleeve of whoever listens, and reminds you to be unapologetically yourself. The character is aware of his own self-destructive tendencies, and owns them proudly.
In what almost feels like a comedown from “That’s Me”, Keo then introduces us to “Fly”, a song which Finn wrote at 17. This represents a toxic relationship that seems endless. Starring the person he was before ‘That’s Me’. Instrumentally the song plays out so relaxed, contrasted by harsh lyrics which cut deep and connect to so many listeners. This resonates heavily with people who have been previously ensnared in a cycle of toxicity. Conor Keogh’s droning bassline keeps the band grounded, Spackman’s drums make themselves known post chorus, and Lanwern’s guitar calmly glides between Finn’s harsh spoken truths. This song is imbued with beautiful metaphors, ‘It takes a while to mend your old wing, And just a second to learn how it breaks.’ Referring to how it takes a long time to build up trust, and in a split second the trust can break. Repetition plays a strong role in this song, emphasising going back knowing it’ll all end the same. With lyrics spitting out frustration and pleading for an end, ’Why can’t you leave this here?’. Every drop of emotion in this song leads to the outro, the vocals get rougher, the drums become alive, the guitars weep for freedom. To me, this is a pivotal turning point in ‘Fly’, Finn was finally able to, ‘Leave this here’.
Leaving all the pleading and repeated cycles behind in ‘Fly’, Keo eases themselves into the self-acceptance drenched anthem which goes by, ‘Best I Can Do’. With Lanwern’s edgy guitar introduction making the hairs on your arms stand up, shadowed by Finn’s vocals sounding like he’s speaking his truths rather than singing a song. Everything in this song slides perfectly into place, like a thousand-piece puzzle. ‘Best I can do’ encourages listeners that if people can’t accept you for you, they aren’t worth it. The chord change in every alternate bar in the chorus is bass driven and powerful, and whilst unexpected, it almost serves as a storytelling device, hitting as hard as the realisation that ’the best he can do’ is enough.
Keeping on brand with this character Finn has presented to us, ‘Bird On The Wire’, is a delicate metaphor to illustrate a person who fears vulnerability, and is soaked in insecurity. ‘I will stretch my heart, away from you, And further from me.’ Spoken so softly but with such rough content, defining that if you can’t put your all into yourself it’s impossible to be that for somebody else. Instrumentally this song rings out like a lullaby, slow, softly delivered, and an overall relaxed listen, but when you delve into the lyrics there’s a clear harsh juxtaposition of emotional unavailability. This song might not stick with you after one listen but when it hits you, it hits you hard and will grow on you like it was tailor made.
We then press play on what I think contends for one of the most beautifully written songs on this album. ‘Pistol’ was the product of a deleted lyric, but it earned itself the name via Spackman’s pistol-like drumbeat throughout the intro, which follows the lead of a desperate Finn Keogh, who sings the words like a weight off his shoulders. After each word the load gets lighter. Opening the song with ‘Somethings don’t come alive, until they’re already dead’ is a metaphor referring to dying stars, by the time you see their light, they’re dead. This eye-opening lyric has the effect on this listener to reflect on all things they may have taken for granted. Whether it’s a certain time in your life, a friend, a partner or a loved one you have lost, ‘Pistol’ serves as a reminder that the beauty of that time will live on, referring to these times as stars, that you only ‘see the light after it’s been gone for years.’ Ending this song with ‘All the things that passed me by’ repeating through like Finn’s desperately trying to break the fourth wall and get through to the listeners to not repeat the same mistakes he has, not to let things pass you by. People say good things take time and with this song gaining a soul after two years, I couldn’t agree more.
Taking a leaf out of bands like The Waterboys’ and Rolling Stones’ book here, Keo introduces us to what they call a marmite track, ‘Loser.’ They claim it’s a love or hate song and will catch people off guard, and I can confirm that is the case. The acoustic guitar takes you in like a warm hug and the simple chords could represent a crash, after all the raw, unhinged, and powered emotions in the previous tracks, loser plays out a little differently. Still including that self-deprecating image that Finn portrays so well, just a couple notches further down than the previous tracks. Finn repeats the words ‘ I’m such a loser, I’m left alone.’ This may sound like a bad thing, but ‘Loser’ portrays the diversity that people know Keo can bring to the table, proving this with their dynamic range throughout this album.
With a slight hint of Nirvana, Keo enters a heavier song on the album, ’Black Dress’. Is a reassuring ballad that expresses that it is okay to let go. Personally when I hear black dress, I envision funeral attire. In my mind Keo is laying out themes of death, and the image of letting go, in this instance the person their father once was. ‘‘Oh, is dad alright, No, but he’s still alive.’ This could be interpreted in many ways, my mind went to alcoholism. The girl in the ‘Black Dress’ is a metaphor for alcohol, and had taken their father who they once knew. The repetition of ‘You Wait For Me’ could illustrate the endless battle of waiting for change, knowing it will never come. Keeping on with this theme of alcoholism, Keo introduces us to ‘Blue Song.’ Whereas ‘Black Dress’ dances over the topic, ‘Blue Song’ throws the listeners into the deep end. Emphasizing that this person Finn is writing about deserved better from the get-go, pleading with the ‘author’ to start over, give her a new chance at life as she was failed by her father, ‘Write so she’ll be loved.’ Unfortunately, this is such a common issue and it’s beautiful that Keo has created this outlet for people going through the same thing to come and relate to.
Get ready to be introduced to your anthem of this autumn, Keo has completely transformed ‘Thorn’ and I am so here for it. The intensity has been bumped up to new levels, new tempo, new key, and if you didn’t think ‘Thorn’ could get better from the EP, then think again. This re-recording of the song features a longer instrumental break after the bridge, which I genuinely believe the original recording was missing, plus a huge burst of feedback in one the final stops which feels like the band bringing the song back to life. This is an extremely raw vocal performance, where Finn’s vocal soar like a bird over open ocean
‘Spent on you’ is an incredible closer to the album, beginning with an intimate acoustic intro before launching into an emotional and heartfelt masterpiece about having loved and lost, wasted time and regret. This song feels like days where you’re glued to the bed after losing the love of your life, and days where you feel as though they wasted your time. Only one thing is truly clear. This song comes from a place of pain and pure desire to have the time back that you spent on this person. With some songs in this album juxtaposing against each other, clean guitar, harsh melodies, I can say with utter confidence this song fits together like a glove, everything is in place with no juxtaposition and no contrast. Everything’s played at the right place at the right time.
The name, ‘Put A Smile On For Me’, contrasts everything that was represented throughout this album. Most albums wouldn’t get away with such an ironic title, yet Keo does, having built up a reputation for being unpredictable. Exploring the emotions of toxic relationships, alcoholic parents and the fear of vulnerability. After this long-awaited debut album, Keo have reminded their audience that it’s okay to face uncertainty, it’s okay to feel insecure and it’s okay to have regrets. If this album isn’t on repeat for you this autumn, then you’re doing autumn wrong.
Keo: Put A Smile On For Me – Out 25 September 2026 (Island Records)
