In defence of Yungblud – then and now

Why the young star doesn’t need to prove himself

It’s been two weeks since Yungblud released his latest song, Hello Heaven, Hello. The rollout was cryptic—just a few black-and-white posts on social media teasing something new. The first, captioned simply hello, showed him in jeans, amps in the background, surrounded by what looked to be confetti. With his tousled hair and unmistakably ripped abs, he embodied a young Mick Jagger.

It was a signal of a new era—or, in Yungblud’s own words, a rebirth.

But among the moody teaser images, one photo stood out: a smiling Yungblud, hair pushed back, wrapped in a Burberry-patterned scarf. Underneath, 27-year-old Dominic Harrison wrote that he was “happier” and “healthier” than he’d ever been, and it showed. He looked, dare I say, ‘normal’. Gone were the bratty, anarchic stylings of his signature black-and-pink striped socks. Instead, here was a grown-up adult.

As he tells it, this latest release has been four years in the making. His upcoming album is, in his words, “a real f*ing album”, one bursting with raw emotion.

But here’s the thing: Yungblud didn’t need to reinvent himself to be appreciated. For years, he was framed as a bratty poser from Doncaster, but in reality, he never had the chance to just be. He was an outspoken, hyperactive whirlwind, having to cling on to the teenage angst that made him famous—a persona built on chaos and rebellion. And honestly? There was nothing wrong with that.

While it felt that he was bogged down by a persona that kept him stuck in his younger years he was able to create it into a community that very few can, proven by his ability to launch Bludfest, which returns again this year.

The first-time festival was ambitious and although it wasn't without its flaws it was still a major success. Even with a collection of upcoming and established artists on the line up, most fans were there purely for him. It was a gathering of misfits of all ages—kids as young as five dancing and singing along, right alongside middle-aged fans finding something in his music, too.

That’s no small feat. Few artists achieve that kind of multigenerational pull. Maybe it’s parents who see a lost kid that needs looking after. Maybe it’s outcasts who found a sense of belonging in his world. Or maybe it’s someone like me, who first saw him supporting Don Broco at my student union eight years ago and has loved his chaotic stage presence ever since.

But after all, isn’t that what an artist is supposed to do? What makes someone great? The ability to make them feel like they are part of something bigger. Yes, some albums will be better than others. Some eras will land harder. But the point is to move people. And that’s something Yungblud has always done.

This new album seems to be bringing out the best in him. He’s like a Disney star breaking free—whether his previous image was his own choice or something molded by his label, it worked. But at the same time, we expect our artists to change. And hopefully, now, this is for the better.

As he told Radio 1’s Jack Saunders, YungBlud feels a sense of calm. And having spoken to him, it’s clear that he is. He’s fully committed to this new era—not in a way that feels forced, but in a way that suggests he no longer needs to prove himself. He’s less guarded, less erratic, but still just as captivating.

At his free gig at Scala the Friday after Hello Heaven, Hello dropped, the crowd already knew every word. As Dom shouted, “Turn it up, alright?” and “Make some f*ing room!”, it was obvious—he’s still as electric as ever. His fans remain devoted, and even some of his critics seem to be coming around.

Because whether you love him or hate him, Yungblud is still here and I have a feeling he’s not going anywhere.