The sun is shining again because Best Coast is back. While it may be a coincidence, we’ll take it as a cosmic sign that Always Tomorrow is the album we’ve needed in our continuous mental health journey. The renaissance of Best Coast is here.
Produced by Carlos de la Garza along with additional production by Justin Meldal-Johnsen (Paramore, M83), Almost Tomorrow’s the band’s first album of new studio material since their acclaimed 2015 LP California Nights.
Best Coast is Bethany Cosentino (guitar/vocals) and Bobb Bruno (guitar); the results are a culmination of the last ten years of front person Cosentino’s life. Reflecting on the shadow of one’s former self helped inspire the blustery odyssey of self-discovery that deals with heartbreak, newfound sobriety, dark thoughts, and more.
As a result, the album doesn’t shy from its past, such as on Graceless Kids with lyrics like “They need a hero, not a wreck / not a phony in a floral print dress.”
Instead, it’s the self-realization that some days feel like we’ve conquered our dark times up to a point. Then on other days, it’s like the progress we’ve made isn’t enough, and we have mental setbacks. For example, on Master of My Own Mind feels personally dedicated to me (obviously it’s not), but this sentiment that I often think in my head is now in song form.
As I continuously listened to this album, without realizing it, it’s helped me with my current metamorphosis of getting used to this new era of myself after a major horrendous depressive setback in 2018. Similar to my mental health journey (the similarities ends there), Cosentino’s now emerged from her chrysalis. We have to say; we love a glow up!
Image header photo credit: Eddie Chacon.
Alternatively, while the subtext of Always Tomorrow isn’t all sunbeams. Yet it does remind us that personal growth is vital and that musical evolution is a part of a band’s growth. Therefore welcoming not only faith but hope, in ourselves, and that the idea of change is good, “This album is the story of a second chance” Bethany Cosentino expresses.
2/27 – Palm Springs, CA – The Alibi (with Lunch Lady)
2/28 – Los Angeles, CA – The Novo*
2/29 – San Francisco, CA – Regency Ballroom* (Noise Pop Festival)
3/2 – Portland, OR – Wonder Ballroom*
3/3 – Vancouver, BC – VENUE *
3/4 – Seattle, WA – The Showbox*
3/6 – Salt Lake City, UT – Metro Music Hall*
3/7 – Denver, CO – Ogden Theatre*
3/9 – Minneapolis, MN – First Avenue*
3/10 – Evanston, IL – SPACE*
3/11 – Chicago, IL – Thalia Hall*
3/13 – Detroit, MI – El Club*
3/14 – Toronto, ON – Phoenix Concert Theatre*
3/15 – Montreal, QC – Corona Theatre*
3/16 – Boston, MA – Royale*
3/18 – Brooklyn, NY – Brooklyn Steel*
3/19 – Washington, DC – 9:30 Club*
3/20 – Philadelphia, PA – Union Transfer*
3/21 – Carrboro, NC – Cat’s Cradle*
3/23 – Nashville, TN – The Basement East*
3/24 – Atlanta, GA – Terminal West*
3/25 – New Orleans, LA – The Joy Theater*
3/27 – San Antonio, TX – Paper Tiger*
3/28 – Austin, TX – The Mohawk*
3/29 – Dallas, TX – Granada Theater*
3/31 – Phoenix, AZ – Crescent Ballroom*
4/1 – San Diego, CA – The Observatory North Park*
4/2 – Santa Ana, CA – The Observatory (w/ Feels)
*w/ Mannequin Pussy
