It neatly repackages the flower power image in the same way that the likes of Jellyfish and Redd Kross have expertly done, capturing the essence but not the excess of the era and serving it up expertly for a modern audience. And pop it may be but it is also built on a deft sophistication; clever dynamic gear shifts, smooth harmonies, and a small but perfectly formed psychedelic country guitar break that Gram Parson would have framed and put on the mantelpiece.
In short, it’s pop and it’s great, not something you hear said much these days, but it is. It isn’t so much the pop that was, more the pop that might have been but more importantly it is the pop that could be again, isn’t that a comforting thought?