We Speak Music
Lady Bird Lad Shares New Single ‘More Than Enough’
Lady Bird Lad is the music project of Harry Hudson-Taylor. He combines elements of Conor O’Brien’s Villagers, Ben Howard’s emotive storytelling, Damien Rice’s raw emotional force, and eerie Elliot Smith-like melodies, all converging to create something truly unique.
Returning with his second single ‘More Than Enough’, this comes ahead of Lady Bird Lad’s four-track debut extended-play of the same name, slated for release on March 1, 2024.
The melancholy and upbeat new track ‘More Than Enough’ demonstrates the depth of his passion for music and his unparalleled ability to combine powerful lyrics with enthralling instruments. The alternative folk-pop release incorporates vocals, synths, piano, bass guitar, bass synths, strings, and nylon acoustic guitar with electric and acoustic drums. Listening to it is uplifting since it features Lady Bird Lad’s heartfelt vocals and amazing earworm production.
Lady Bird Lad wrote ‘More Than Enough’ with Belfast artist Jack Devlin during the lockdown in 2021. It was the first time they met each other and the original idea was for the songwriting session to be just for Jack’s music. They wrote ‘Dialogue’ during this writing session too via Zoom. The song is a conversation with a friend (or could be yourself) who is having a hard time and telling them they are enough exactly how they are.
In terms of production, the bones of the original demo made the basis for the final production. Lady Bird Lad produced the song up to about 75% of the way and then got help from a dear friend Brian Speaker (Speakersonic) to finish it off. The drums on the track are played by Tom Osander (Damien Rice ‘O’ and ‘9’, Lisa Hannigan). Backing vocals and some last-minute lyric change suggestions came from Lady Bird Lad’s partner Seraphina Taylor. ‘More Than Enough’ was mixed by Ruadhri Cushnan (Ed Sheeran, Snow Patrol, Mumford and Sons, Kodaline).
On the song, Lady Bird Lad says, “‘More Than Enough’ is a poignant and empathetic song that delves into the universal struggles of self-doubt and emotional hardship, while simultaneously offering a message of unwavering support and self-acceptance. To me, this song signifies the journey of recognizing one’s inherent worth, even amidst life’s toughest challenges. It speaks to the heart of anyone who has felt overwhelmed by their memories or circumstances, reminding them that they are always sufficient, just as they are. The emotional tone of the song is nurturing and supportive, akin to a compassionate friend or guide offering solace and understanding in difficult times. The song resonates deeply with me and I use it as a bit of a self-healing tool as well, as it mirrors the essential human need for connection and empathy.”
In “You Never Do Shit,” Brooklyn’s Dead Tooth deliver a snarling, urgent post-punk single that distills their barbed energy into under four minutes of sharp-tongued wit and scuffed-up sonics. It’s a track that bristles with disdain—Zach Ellis’ vocal delivery is acidic, at times theatrical, and often more spoken than sung. There’s a punk rock immediacy here, but with the knowing wink of someone who’s watched the scene curdle and still wants to dance through the ashes.
The song began its life in a different medium—written for a fictional band on City on Fire—but the real-life iteration carries more weight. There’s a palpable satisfaction in Ellis’ decision to reclaim it, and that freedom seeps into every detail: the unkempt rhythm section, the jarring saxophone lines from John Stanesco, and the deliberate looseness that characterizes its structure.
Dead Tooth are at once participants and commentators in the culture they inhabit. Their songs are alive with noise, but also with intent—tracking the psychic hangover of nightlife, subcultural collapse, and underground scenes that burn bright and disappear too soon. Ellis’ lyrical observations land like tossed-off critiques, but underneath the smirk is something deeper, almost desperate: a desire for connection, even through chaos.
With their debut album looming, “You Never Do Shit” feels like a thesis statement. Not just of sound, but of ethos: reject slickness, embrace noise, tell the truth—even if it’s ugly. In a year when punk has mostly whispered or wandered, Dead Tooth has chosen to scream.
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