Look, I’m going to catch heat for this, but we need to talk about Spencer Sutherland and how he’s single-handedly resurrecting the kind of theatrical rock that made Queen legendary. Yeah, I said it. And before you come at me about how dare anyone wear Freddie’s crown, hear me out.
I stumbled across Sutherland through Amazon Music’s algorithm (finally, AI doing something useful besides writing shitty blog posts). The song that stopped me cold was “Drama,” the title track from his latest album. Those massive harmonies hit hard, with the kind of orchestral rock prowess that made ELO and Jellyfish gods among mere mortals. And this is new? In 2024? What timeline are we living in?
Here’s the thing about Spencer Sutherland. He’s fearless. While every other pop star is busy trying to sound like a depressed bedroom producer, this guy is out here crafting honest-to-god rock operas. The brilliance of tracks like “Motherfucker,” “Hater,” and “Bitch” isn’t just in their titles. It’s in how he wraps that profanity in production that would make Brian May weep. And to think, this all started with an X-Factor audition.
Speaking of X-Factor, it’s worth noting how far he’s come since those early days. While the judges urged him to find his style, he’s clearly taken that advice and run with it, creating something uniquely his own. The show gave him a foundation he’s grateful for, evidenced by the X-Factor alumni who showed up to support him at recent shows. Now he’s selling out venues across the UK, with the London show upgraded due to demand and Manchester packed to the rafters. He’s found himself alright, and then some.
The album “Drama” is a rare and unapologeticly theatrical rock gem. Yes, there are moments where the Queen influence is undeniable, maybe over the top in places. But you know what? That’s fine. It’s about time someone had the courage to pick up that torch and run with it. And run he does, straight into territory that’s uniquely his own.
“Modern Heartbreak” is another standout track which is a must listen. This one screams Butch Walker, but with a touch more soul than power pop in the voice. But the title track “Drama” stands as the album’s undisputed masterpiece, the kind of ambitious, theatrical tour de force that first caught my attention. When he launches into those multi-layered harmonies, it’s not just technical prowess, (although it begs the question, how may layers is too many?) it’s emotional storytelling with a purpose.
The album’s deep cuts are where Sutherland really shows his range. “Let Me Loose” could have been a lost track from glam rock’s golden age, while “Put Your Money on Me” sounds like it could have been the follow up single to The Darkness classic “I Believe in a Thing Called Love”. “Alive,” “Hater,” and “Motherfucker” form a perfect trilogy of modern rock that defies categorization. They’re theatrical without being campy, aggressive without losing melody, and complex without being pretentious. It takes a few listens to truly appreciate the level of production here, but it’s worth it.
Spencer Sutherland is making a statement about what pop music could be if we embraced ambition. Yes, he’s standing on the shoulders of giants. But unlike the armies of copycats who’ve tried to recreate Queen’s magic, Sutherland actually understands what made them great: the ability to be both ridiculous and sublime, often in the same moment.
Is he ready for stardom? The real question is whether stardom is ready for him. In an era where authenticity is measured by the number of Tik Tok followers, Sutherland’s brand of maximalist, theatrical pop-rock feels like a breath of fresh air. And if his recent shows are any indication, there’s an audience hungry for exactly this kind of musical ambition.
Let the purists have their say. Rock needs its next great showman, and Spencer Sutherland is wearing that cape with conviction. The throne of theatrical rock has been empty too long, and we might just have found our new heir apparent.
The tour continues in the US starting next week. Don’t miss this one. 
