Review

James Marriott’s Don’t Tell The Dog is a curious beast—equal parts confessional indie-pop and polished alt-rock, with just enough bite to keep things interesting. The Brighton-based artist, already a familiar face to his online following, steps further into the spotlight here, notching his first UK Number 1 album. But chart success aside, the record’s real intrigue lies in its emotional excavation. From the opening strains of “Ventriloquist,” Marriott signals a shift—less scrappy than his debut Are We There Yet?, more refined, but not without its raw edges. Tracks like “Plasticine” and “I Don’t Wanna Live Like This” shimmer with vulnerability, while “Pillow Fight” delivers a standout guitar solo that briefly rips through the album’s otherwise clean production. There’s a noticeable 1975 influence—particularly on “It’s Only Love”—but Marriott manages to imprint his own voice, even if some choruses feel a touch too polished for their own good. Still, the lyrical themes—childhood echoes, adult attachment, and emotional reckoning—lend the album a weight that belies its pop sheen. Don’t Tell The Dog may not bark as loudly as its predecessor, but it’s a sleek, emotionally literate follow-up that proves Marriott’s more than a passing internet phenomenon. He’s a storyteller now—and the dog’s not the only one listening.

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