Auckland/London post-punk outfit Napoleon Baby pull no punches on their debut album ‘Everybody’s Watching and Nobody Cares’. Equal parts protest and provocation, it’s a sharp, lo-fi statement from a band unafraid to say the quiet part out loud.

Built on raw guitar work, biting lyrics, and a disdain for apathy, the album takes aim at ego-driven politics, performative culture, and the glorification of all the wrong people. “We don’t want to live in a bubble,” says frontman Dan Jones. “There’s a responsibility to call things out.”

Drawing influence from St. Vincent, The Stooges, and Radiohead, Napoleon Baby craft a sound that’s immediate and emotionally charged, without slipping into cynicism. It’s confrontational, yes—but there’s care in the chaos.

The release follows a run of uncompromising singles and is available now, with limited edition vinyl available for pre-order via Holiday Records. Napoleon Baby mark the release with a headline show in Auckland before heading to Europe for tour dates.

Everybody’s Watching and Nobody Cares is a bold first chapter from a band built to disrupt—and they're only getting started.

25 June 2025

British-Kiwi post-punk agitators Napoleon Baby release their debut album Everybody’s Watching and Nobody Cares on July 4th – a bold, full-length statement for a world fraying at the edges. Raw, unfiltered, and darkly soulful, the album takes aim at a society drowning in ego, distraction, and delusion.

Written in a time when egomaniacs control the globe and charlatans use religion to influence the susceptible, Everybody’s Watching and Nobody Cares is a compelling, angry, eclectic, and deeply human record about culture, progressiveness, idolising bad men, and not repeating the mistakes of the past. Infl uenced by genre-defi ers like St. Vincent, Radiohead, QOTSA, and The Stooges, Napoleon Baby have shaped a distinctively lo-fi , purpose-driven indie sound that bites just as hard as it bleeds.

“Every song on this album is related to something important happening right now,” says frontman Dan Jones. “We don’t want to just sit around and live in a bubble. We’re part of a global community. There’s a responsibility in that – to stand up for people and call out dickheads. We will not aim for retirement at 35. We will not ignore injustice. If that’s you, don’t listen to this record. Go listen to Six60 or Benson Boone .”

The album succeeds a steady run of singles and EP’s with Napoleon Baby already established themselves as a band unafraid to call it like it is. Their debut album only deepens the wound – pulling no punches, and asking the listener to do the same.

Review by Gaby Ivanov-Giraldo // 3 March 2025

Ponsonby Social Club, known for its cobblestones, cocktails, good vibes, and superb location, hosted a stellar gig for Napoleon Baby’s new Blueprint EP. The night was a mini musical symphonia with performances by Melon Heart and Thinking Foxes. By 8:20pm, around 20 heads gathered under the pink-lit stage, ready for a night of it. Though the venue speaks luxury, its intimate size guaranteed a cozy crowd, proving that tonight’s success wasn’t about numbers!

By 9:50pm, anticipation had reached its peak as our main act, Napoleon Baby, took the stage! Hailing from Auckland, this dynamic trio had recently returned from their overseas escapades. Their sound — a solid fusion of old-school indie-rock mixed with their unique style of alternative, pop, and rock — drew in roughly 30 more eager faces, and the shimmying was on!

The EP’s album artwork and inspiration added a visually striking dimension to their aesthetic, enhancing the overall sensory experience. Napoleon Baby’s new 4-track EP is genre-defying gold, intricately fusing anthems that capture the raw pains of life’s misfortunes with biting sarcasm for the resolute and strong-minded. The atmosphere was buzzing, and the band’s swanky energy resonated with everyone, making it a night to remember.

The lead singer is a real talent, seamlessly blending vocals, guitar, and even keys throughout the set. Track two was memorable, with a surf-rock feel that was upbeat and fun. Track three, The Company, was unforgettable, especially with the lyrics, “it’s gotta be the worry with you,” sticking in my head. During track five, they announced it would be their last show in New Zealand for now. Ironically, the lead singer gained a headstrong confidence that captivated and engaged the mind.

They played Sailors from the new album, followed by Unworthy Boys, which I recognised immediately for its masterful lyricism. Unworthy Boys (my favourite song of the set) delivered a standout performance. The lyrics give a bold message to societal standards, including social experimentation and the concept of owning a home or unattainable assets in general. Are we really all that unworthy? It makes us the majority, at least… I love this track mainly for its rugged and raw message to the world about what really matters, and what shouldn’t… or doesn’t.

A few more tracks wrapped up the set. Honestly, this band exudes a lot of emotion, and let’s not forget the bassist’s cowboy hat, which turned into a running joke by the end. The seamless transitions from guitar to keys were pure wizardry, even though they feared messing up the song—they didn’t! Well, at least not to my ears (haha).

The band was consistent and had great individual moments like bass and guitar solos, and hard hits on the snare. I loved the track where they mention good friends taking time, and the many satisfying digs at modern society and culture — gotta love a mutual frustration played out in art form!

What a night! The lights were in perfect harmony with the set’s style, casting a glow on the sea of slicked-back hairstyles and stylish outfits, each echoing the era of this timeless music. I was a happy chap, and my plus one elevated the experience by capturing mid-level video footage that soared above the crowd — thanks to his height! A perfect night brimming with camaraderie and spirit. Heartfelt thanks to all who brought this gig to life; may New Zealand be lucky enough to be hit by these bands’ performances once again!

Supporting Ash and ever so echoing their signature style, in the tune of bold and energetic guitar riffs,  come Napoleon Baby. Consisting of the three band members, currently all residing and mainly hailing and touring NZ in support of Dan, Jamie & co.  and playing a selection of tracks from their debut EP Unworthy Boys, with one particular track giving big ballad vibes, reminiscent of the late Jeff Buckley in both delivery and the poetic hold and personal style of lead singer Dan.  Unworthy Boys being one such track, shortly followed by a definitively sweeter and progressively moving Sailor.

Their pace became softer and almost rather plodding in some ways towards the end, however slowly regaining in its intensity, with the track – Positive Reinforcements 

Strongly closing with the aptly titled Goodbye and Goodluck!  It was a unique and artistic execution of mystical and rather surreal melodies.

The debut EP from Napoleon Baby, Unworthy Boys, is here, and what a release. The Tamaki Makarau trio have delivered a well-crafted and honed effort that explores our life and times and the frustrations and injustices they come with.

Opening the track with desert rock styled The Company that sounds like it’s fresh off the soundtrack to Daisy Jones and The Six. The Company provides a groovy and catchy opener to Unworthy Boys. With beautiful harmonies and distortion heavy guitar. A mouthwatering build up leads into the final phase of the track, I’d love to hear this live in a more electric setting.

Technically Smart Boys keeps the momentum going next. I feel like this track would serve well as a montage backdrop in an early 00’s romcom (niche I know, and I mean it in a good way! It was the first thing that came to mind). The drop off/fade out leads nicely into the relatively haunting intro of Positive Reinforcement.

Although this track shifts into a floaty and light melody, readers of my other reviews will know I’m a sucker for the juxtaposition of happy melody with sombre lyrics. This is achieved very nicely here. The happiest I’ve felt singing along about depression in a while!

Outlaws has an opening bass lick that snaps my attention back. I enjoy the felling of impending doom this track brings out in me (I promise I’m fun at parties). Napoleon Baby provide another track that I have no doubt goes hard in a live setting. Outlaws is a real highlight from this release, love the Keith Richards/Sympathy For The Devil style guitar licks too.

Closing out Unworthy Boys is the mellow and soft farewell of Goodbye, Good Luck. Lyrically, this is my favourite of the whole EP. I can feel the quiet rage behind this track, the palpable indignation, and exasperation. I will definitely be finding a playlist of mine for this track to call home.

All in all, Unworthy Boys is a more than a solid release, and Napoleon Baby have delivered a sensational EP that will at the very least, keep me entertained for a long time yet. I will be keeping a close eye out for upcoming shows.

Napoleon Baby! are bursting onto the scene with their first major offering,‘Unworthy Boys’, in the shape of a debut EP. Formed in New Zealand, though comprised of two Brits, the group have been making waves across Oceania as they set their sights on going global with this five-track EP.

Napoleon Baby! – Unworthy Boys

Starting with its gritty basslines and chugging guitars, the ‘Unworthy Boys’ EP kicks off with the opener ‘The Company’. It’s refreshing to hear such a mix of contemporary and legendary influences to bolster Napoleon Baby’s sound into something that feels as intense as it does exciting. Instrumentally, the track brings strong undertones of bands like The Stooges & Fontaines DC whilst ensuring a sharp post-punk edge to keep the record intense. This energy is blissfully maintained with the second track, ‘Technically Smart Boys’. Telling tales of micro-celebrity and small-town fame, the alt-punk-disco anthem captures the fleeting glory of adolescence.

‘Positive Reinforcement’ has echoes of a certain Alex Turner and perhaps wouldn’t sound out of place on Monkeys’ album ‘Suck It and See’. The lightest offering of the collection so far, the track follows the aftermath of a conversation with an industry professional telling the trio to be more positive in their songwriting. “I wanted to vomit on his sweet face”, tells the group as they rush into the studio to record their anti-industry pop jibe.

The energy soon rushes back in with ‘Outlaws’, with cutting melodies as cathartic as they are rhythmic. It’s within punk-esque anthems such as this where Napoleon Baby! shows their true colours, presenting a no-holds-barred approach reminiscent of The Jam and Oasis. This might just be my favourite track of the EP with its unforgiving drum beat that just keeps punching. It’s tracks like this which make me feel excited for the future of alt music. Napoleon Baby are truly one to watch.

The EP closes with the apt ‘Goodbye, Good Luck’ as the trio sign off on their debut EP. Despite its soft nature, what the track doesn’t have in tempo it makes up for in intensity. Kicking off from its humble starting point, the energy in the closer builds until it reaches its heady, shoegaze climax before melting away into the soundwaves.

The ‘Unworthy Boys EP has the attitude and authenticity to be noticed and is sure to cement Napoleon Baby! as one of the most exciting breakthrough artists of 2024.