When Manchester-based indie-pop group Westside Cowboy appeared on Later… With Jools Holland earlier this year, they received some unsolicited guidance from fellow guests Duran Duran. Simon Le Bon attempted to soothe the band, who admitted they were “cacking their pants” before the performance, by telling them that “nerves are just your mind telling you that you’re about to do something extraordinary.” Vocalist and guitarist Reuben Haycocks recalls the moment with a laugh, noting that the advice didn’t quite hit the mark. He says he was hoping for practical tips, like where to direct his gaze, rather than philosophical reassurance.
The band has navigated a whirlwind trajectory since forming in 2023. By 2025, they had secured a major label deal, won Glastonbury’s emerging talent competition, and joined the lineup for one of the year’s most prominent indie tours alongside Geese. While vocalist and guitarist Jimmy Bradbury acknowledges that the rapid success brings a degree of pressure, the band remains focused on their own creative rhythm. Their debut album, It Goes On, draws inspiration from the driving, muscular sound of the Velvet Underground, the Feelies, Parquet Courts, and Courtney Barnett, while incorporating elements of midwestern emo.
Drummer Paddy Murphy explains that the group avoided the trap of trying to craft a career-defining masterpiece on their first outing. Instead, they aimed for the raw, hungry energy of a band that hasn’t yet settled into a polished routine. This commitment to authenticity extends to their personal lives; the members, aged 23 to 26, often eschew modern smartphones in favor of brick phones, MP3 players, and analog equipment like cassette decks and radios. Bradbury notes that while they still use laptops and email, removing the constant distraction of a smartphone helps clear their mental space. Bassist and vocalist Aoife Anson-O’Connell adds that the constant screen time feels creatively stifling and isolating.
This rejection of digital saturation is a core tenet of their band philosophy. Haycocks notes that his previous musical projects were often paralyzed by the endless options provided by modern technology. By choosing a simpler approach, the band hopes to maintain a more grounded existence. Despite their growing profile, the members remain modest, with Anson-O’Connell insisting they are not doing anything revolutionary and Bradbury jokingly stating that the band is “not cool.”
Songwriting is a collective effort for the group. Haycocks often adopts the persona of artists he admires, such as Lou Reed or Stephin Merritt, to overcome the self-consciousness of writing. He views this as a necessary form of bravado to reach a higher level of creative expression. Similarly, when working on guitar parts, Murphy has encouraged Bradbury to channel the spirit of early rock’n’roller Link Wray. Their eclectic influences, ranging from folk to skiffle, once led them to jokingly coin the term “Britanicana” to describe their sound, a label they now view as a lighthearted, albeit pointless, invention.
Beyond their music, the band members are active in their community. They help organize a recurring event called No Band Is an Island, which features musical acts and left-wing political speakers to raise funds for Medical Aid for Palestine. While they are politically engaged—Haycocks frequently wears animal liberation apparel—they prefer not to broadcast these views through their lyrics. They believe their music is not the right vehicle for political grandstanding, as it does not reflect their personal approach to performance.
Ultimately, the band finds beauty in the unpolished moments of music. Haycocks points to Tom Waits’ album Mule Variations as a prime example of how an artist can balance goofy, experimental tracks with profound songwriting. Bradbury agrees, noting that “duds” are a necessary part of the creative process. For Westside Cowboy, these imperfections are exactly what make music feel human, ensuring they remain focused on their own path rather than the polished expectations of the industry. The report also notes that by 2025, only two years after forming, they had won Glastonbury’s emerging talent competition, supported Geese on the year’s buzziest indie tour and signed to a major label. The report also notes that but – as their taste in music and resistance to the grind may indicate – share an old-school mindset, westside Cowboy are all aged 23 to 26. The report also notes that they play an explosive 4pm set to a rammed tent, contrasting sharp, noisy blasts of guitar with layered vocal harmonies, on stage later on. The report also notes that the Manchester band have had to learn the ropes quickly. The report also notes that there’s unnecessary pressure on new bands to bottle everything on the first attempt. The report also notes that they’re even considering setting up a PO box address for fans to send letters to. The report also notes that “We still have laptops and send emails, but taking away that single-use device, like a phone, really helps free up headspace. The report also notes that and it’s trying to find a way to control it, because you don’t have to buy into that.”, these things are designed to be addictive.