Holding the heavy 180-gram vinyl pressing of *Pretty Vicious*, you can feel the weight of a band that refused to let the traditional rock industry die on its watch. The Struts aren't just another British export trying to sell vintage leather jackets and recycled riffs to North American audiences. They are a legitimate phenomenon.
But the real magic isn't in the branding. It’s in the sweat. Their fourth studio album serves as a gritty, polished reminder that Luke Spiller might be the last true frontman left in the game. He isn't just singing; he is performing an exorcism of boredom.
I caught up with Spiller just as he was settling back into the West Coast rhythm. He sounded exactly like the record feels: caffeinated, slightly sleep-deprived and utterly obsessed with the craft.
“Hey there! It’s great to chat with you,” he says, his voice carrying that sharp Bristol edge even through the filter of a long-distance line. “I just woke up here in LA. It’s been a whirlwind, you know, coming back from the UK, got in late last night at LAX at around 8pm. Then I got to my pad, relaxed and got some sleep then bam! I’m up here early chatting with you mate. This is so much fun. There is so much to do, and I don’t want to miss any of it.”
The Struts didn't just appear out of thin air with a glitter cannon. It started in Bristol. Spiller and guitarist Adam Slack are the nucleus, two kids who looked at the charts and wondered where the theatre went. They found common ground in the holy trinity of Queen, The Rolling Stones and Aerosmith.
And they didn't stop at the influences. They built a unit. Recruiting bassist Jed Elliott and drummer Gethin Davies wasn't just about filling slots; it was about creating a machine that could survive the gruelling club circuits of Europe and the US.
By the time *Everybody Wants* dropped in 2016, the industry was already reeling. "Could Have Been Me" became an anthem for the disillusioned, proving that glam-rock wasn't a relic of the 70s but a viable currency in the streaming age.
Their latest effort, *Pretty Vicious*, arrived on Nov. 3, 2022. It is a 12-track offensive that refuses to take prisoners. Spiller breaks down the sonic architecture of the record with the precision of a man who knows exactly how to manipulate a crowd’s heart rate.
“With beautiful keys laced throughout their title track ‘Pretty Vicious’. ‘Too Good at Raising Hell’, brings back that pop rock vibe with those incredible sing-along lyrics Luke is so good at. Inviting us all to get into whether you’re at home, in your car or right in front of the band singing along they have this natural ability to involve everyone and bring them into their world and that boogie down rock that just oozes out of them,” Spiller says.
But it isn't all swagger and sequins. There is a technical proficiency here that critics often overlook because they’re too busy staring at Spiller’s wardrobe. The way the bass interacts with the kick drum on the new tracks shows a band that has spent thousands of hours in the back of a van.
One specific moment on the record, "Hands Down", pivots away from the bravado. It’s a rare look behind the curtain of a man who usually seems invincible under the spotlights.
“The song ‘Hands Down’ strips Luke down from a very vulnerable break up that’s got his body shaking and he’s he doesn’t think it will be long before he breaks, all he’s looking for is her hands to come back to him and make it all right. The buildup in this song is so brilliantly crafted, they all work so well together,” he explains.
Singing next to them and for Taylor that was a dream. They are all such kind mates and I’m proud to call them friends now.
And you can hear that tension in the bridge. It’s a slow burn that pays off with a payoff that feels earned rather than manufactured. It’s the kind of songwriting that keeps a band relevant long after the initial hype dies down.
Before hitting the road again, Spiller took a beat to head back to the UK. It was a necessary retreat. The road is a vampire, and if you don't have a foundation, it will drain you dry before you hit the second leg of a world tour.
“Connecting with the ones you love and being grounded, I think is very important when getting ready to go on tour,” he says.
The upcoming schedule is a gauntlet. They aren't just playing clubs; they are sharing stages with Queens of the Stone Age and Staind. It’s a bizarre pairing on paper, but The Struts have this uncanny ability to win over even the most cynical hard-rock crowds.
Looking back at their trajectory, it’s clear they didn't take the easy route. There was no viral TikTok moment that skipped the line. They did it the old-fashioned way: by being better than the headliner until they became the headliner.
“They first got traction in Germany, which helped promote them to move stateside where they started putting in the work on the road. They sure have paid their dues,” Spiller reflects.
This work ethic caught the eyes of the gods. Guns N’ Roses, Foo Fighters and The Who don't just pick any band to open for them. You have to be able to command a stadium before you’re allowed to step onto one.
“Over the years, staying humble and quiet, you pick up things from each one of those bands that you try to incorporate into your own camp. We are always appreciative and honored to have opened for some of these incredible legends,” Spiller says.
But the most heavy-hitting moment of his career didn't happen on a standard tour. It happened at the Taylor Hawkins Tribute Concert. Standing on stage with the surviving members of Queen wasn't just a career milestone; it was a goodbye to a close friend.
“Singing next to them and for Taylor that was a dream. They are all such kind mates and I’m proud to call them friends now,” he says. You can hear the shift in his tone. The rock star persona drops for a second, and you see the fan who actually made it.
The Struts are now four albums deep, and the hunger hasn't dissipated. If anything, they are getting more experimental. They are bored with the "retro" label and are looking to blow up the blueprint entirely.
“We’ve evolved so much over these years,” he says. “Now, with four albums under our belt, it’s been a fascinating ride. Each album has represented a new chapter for us, and we’re strongly considering a fresh direction for the next one, perhaps venturing beyond the confines of rock music.”
And then there is the solo project. It’s the news that sent shockwaves through the fan base. While the band remains his primary focus, Spiller has been quietly crafting something entirely his own.
The late Taylor Hawkins even makes an appearance on the record, a final collaboration that bridges the gap between Spiller’s past and his future. When I pushed him for a theme, he didn't mince words.
“Love, Sex and Heartbreak Baby,” he says. It’s a classic Spiller line—direct, provocative and unapologetic.
In the meantime, fans have "How Can I Love You (Without Breaking Your Heart)" and "Heaven’s Got Nothing On You" to chew on. These weren't leftovers from the *Pretty Vicious* sessions; they were orphans that needed their own space to breathe.
“These tracks had waited in the wings, possessing a distinct character that didn’t quite align with the album’s overall vibe. We felt the time was ripe to unveil them; they needed to be heard in their own right,” he explains.
The production on "Heaven's Got Nothing On You" is particularly sharp. The snare hit has a crack to it that feels like a physical punch, a testament to their growth in the studio.
But beneath the glitter and the high-octane vocals, there is a philosophy of survival. In an industry that eats its young, The Struts have maintained a level of sanity that is almost unheard of for a band of their stature.
“Humility is key,” Spiller says. “It’s essential to remain grounded, no matter the heights you reach. We’ve learned to embrace that and to continually hone our craft, pouring heart and soul into our music without diluting its essence. That’s the advice I’d pass on to the aspiring rockers out there—stay true to yourself and your art.”
It’s easy to dismiss rock ‘n’ roll as a genre of the past. But then you hear a record like *Pretty Vicious* or you talk to a guy like Luke Spiller, and you realize the pulse is still there. It’s just waiting for someone with enough swagger to wake it up.
The Struts are doing more than just keeping the lights on. They are burning the house down. And honestly? It’s about time.
