push baby

Introducing push baby…

Four friends, musicians, and nearly brothers—Jake Roche [vocals, guitar], Charley Bagnall [guitar], Danny Wilkin [bass, keys], and Lewi Morgan [drums]—holed up in various home studios throughout London and Manchester UK alongside a rotating extended crew of creatives and friends. They turned off the outside world, raised a middle finger to convention, and even went so far as to completely burn down what they previously built as multiplatinum pop sensation Rixton in favor of a bold, ballsy, and brazen beginning. 

Together, they wiped the slate clean and started at ground zero, literally.

They independently wrote, recorded, engineered, and mixed every note of their 2019 debut EP, woah alongside their best friends.

Not only that, the band self-shot and self-directed all six of their music videos, made visuals, and created merch designs with the help of their creative friends.

Given this level of integrity, the fans responded to the group’s quiet rise, subverting pop with organic instrumentation, cheeky and clever confessions, and a wide-eyed grin. That’s how the group’s one-off lead single “mama’s house” impressively put up over 2 million cumulative streams out of the gate in a few months. Along the way, they retreated to “a castle in the middle of nowhere in the UK” to record the six tracks comprising woah, maintaining an unpredictable spirit.

“It's sonically not cohesive on purpose,” explains Roche. “We just wanted to be out there and not overthink what we release so the fans can watch us build our sound and vision organically and authentically.”

As they worked, a cult audience rallied around push baby, and they rallied back. The band engaged fans to choose the next single and livestream with them during video shoots.

woah’s “@thebackoftheparty” and  “thor” cemented this community. Driven by a hammering groove and immediately infectious chant, the guys encoded a provocative under the pop of “thor."

“With ‘thor’ I wanted to share a vulnerability not often voiced from a male perspective,” says Roche. “ The song touches on themes of toxic masculinity- unrealistic expectations and stereotypes set for males which contribute to insecurities, especially as it relates to body image and expressing one’s emotions.”

“CALI SUPERBLOOM” blossoms with a bold hook and hummable rhythm. Elsewhere, “thenineteenseventyfive” fuses a fiery falsetto to stark guitar as Roche tells a cinematic story about a doomed girl who “loves cocaine and The 1975.” That honesty also punctuates “i think i love you (but i don’t like you).” Everything culminates on “You don’t like the colour orange” builds from vulnerable verses into an R&B-driven croon on the chorus.

woah extends an invitation to join in this thing of theirs.

“This is YOUR band,” concludes Roche. “Everyone is a part of the process and experience. You can put out art regardless of who you are and what resources you have. We want to prove that, and we want you to join us.”