Hickey- Royel Otis

The band steps up from their most previous work and their growth shows but a cloud feels to overshadow everything

I’ve been a fan of Royel Otis for a couple years now and while I quite enjoy their most recent album Pratts & Pain, released only a year ago, after seeing them live every time I listen to tracks on that specific album I think to myself “this was better live”.

And though it's impossible to transport that live magic into a recorded album, hickey is able to capture their on stage energy quite beautifully. Whether it be the incredibly groovy “torn jeans” that made me get up and start dancing around my room, or Otis’ falsetto in “dancing with myself”, or even the tambourine that adds a spectacle to “she’s got a gun” this album is one that showcases the bands talent for capturing and recording with a “live” quality.

This “live” quality has of course come with practice. And lot’s of it.

In their most recent interview with Zane Lowe the topic of their exhausting touring schedule is brought up and it’s mentioned that they’ve been touring since the start of 2024. Otis mentioned that once everything is said and done (with final tour dates scheduled to be in early December) he wants to chill but still make music on their own timeline. “Without pressure” Royel interjects.

Maybe this is a possible jab at the label overlords who have them doing album promotion in the middle touring, even after Royel seemingly collapsed on stage at the MS Dockville festival in Germany.

Is the release of hickey, the constant radio interviews, insane number of festival sets and concerts, magazine covers, just part of a story we’ve all seen of the greedy American label rinsing these indie boys from another country of their art and everything they have, whilst knowing everything they have, and trying to cash the fuck out? And what does that say about fans, old and new, who devour the art they produce whether it be attending their live shows or listening to their music?

I look at the overconsumption of music in 2025 like a game of tug of war between the consumers (fans) and the label. And the artists as the rope are completely stretched to their limits with both sides actively pulling and asking for MORE. But like a real tug of war game the violence lasts an unforeseen amount of time. Trends change, personalities are volatile, budgets tighten. And the rope that was once the object of desire from both sides is dropped and left on the gym floor.

And I largely wonder about the art and music that’s produced during this insane game and whether its consumption is even “ethical”. While I quite enjoyed “hickey” and felt like because of a larger budget and more high profile writers, producers, and engineers they were able to achieve their largest and most fullest sound to date I askm is it all worth it?

The final song on the album ‘jazz burger’ ends with Otis singing “when I’m gone/ you’ll come running/ back into my arms/ when I’m gone/ you’ll come crawling” whose meaning I imagine was intentionally meant to be about a romantic relationship could also be about the relationship between them and everyone playing this game of tug of war. A hope (maybe knowing) that when the rope has finally dropped and gym class is over someone will still remember and come back for more.