There’s always that small risk that a band that’s been around as long as Buzzcocks will begin to sound like a tribute act to themselves with the release of a new album in 2026. Fear not, however, as Buzzcocks have pushed past this risk with resolute ease, with the release of ‘Attitude Adjustment’. The albums loud, fast and just as alive as you’d expect a Buzzcocks release to be. Steve Diggle steers the ship for the second of their twelve studio releases, and he’s unapologetically at his best.

The Manchester punk legends boot the door down from the off, with opening single ‘Queen of the Scene‘. It’s fast and urgent, grabbing the listeners attention straight away, almost grabbing you by scruff of the neck.

Towards the end, Diggle bellows “Queen of the scene. Know what I mean. Trying to get to heaven in a suicide machine” in a confrontational delivery. The repetition leaves this running rings around your mind, grabbing you immediately from the first track.

Next up, ‘Games’ takes you into a different direction, instead of steering you along another fast-paced anthem, the band slow things down. There’s a tightness in the rhythm section, that allow the riffs and vocals to steer you into an upbeat direction.

‘Seeing Daylight’ blasts onto the scene with a roaring riff, giving the traditional vibe you’d expect from the origins of Buzzcocks. There’s glimmers of Sex Pistols in this track, which takes you straight back to those early moments in the bands history, when Howard Devoto was the lead singer.

Up next, one of the leading singles ‘Poetic Machine Gun’ is full of infectious pop hooks and a sweeping melodic chorus. This clever title hints towards rapid-fire lyrics and a punchy delivery, which is perfectly displayed throughout the song.

This feel carries into ‘Tear of a Golden Girl’ with rough, raw but tight musicianship on show. Showcasing more of an introspective feel, this track blends that traditional punk vibe with the simple, melodic feel that Buzzcocks have always been known for.

If gritty anthems is your vibe, ‘Heavy Streets’ has you covered. They blend slower, aggressive drums with a dirty, driving riff. Compared to the rest of the album so far, this grittier number conjures feelings of weighty themes and urban living. Until now, the albums had an uplifting feel. Just as you begin to feel at one, they force their way back into the forefront of your mind.

‘One of the Universe, Pt. 1’ comes in the form of a small interlude. Following the raucous of ‘Heavy Streets’, it just gives you space to regain yourself before the acoustic ‘All Gone To War’ stands alone, with its own breathing space. With lyrical content that showers you with themes of war, this feels like a poignant and stripped back inclusion on the album. It’s always impressive to hear a heavier band strip their songs back to make a point. ‘One of the Universe, Pt. 2’ finishes this track with a similar interlude as part one, giving the aforementioned acoustic number its moment.

Pulling you straight back into the album, ‘Jesus at the Wheel’ opens with the similar fast-paced guitars and drums, met with narrative-focused lyrics. This vibe is carried throughout the song, and the hooky chorus is prevalent throughout.

As we approach the end of this album, we’re met with ‘Just a Dream I Followed’. This is another fast paced track, but this time it feels introspective and reflective. Followed by ‘Feeling Uptight’, this song feels like a traditional angsty and tense Buzzcocks classic. It’s tense but also a subtle nod to the 50 year lifespan of the Mancunian outfit.

In a change of direction to the rest of the album, Diggle keeps listeners on their toes with the Motown inspired ‘Break That Ball and Chain’. Reminiscent to me of that mid 80s Style Council sound, it combines a catchy chorus with Diggle‘s energy and attitude.

Rounding off the album ‘The Greatest Of Them All’ showcases a statement piece of music. It serves it’s purpose of rounding off the album, combining the host of genres the punk icons have tapped into.

For me, the album is the exact kind of production you’d expect from a band that’s been in the game for 50 years, and onto it’s third lead singer.

Naturally, there’s nods to their past and their history, but Diggle is certainly dragging the band in his direction. Having full control of the songwriting, he’s certainly blended themes and genre’s you wouldn’t expect, whilst in-keeping that traditional Buzzcocks sound.

Overall, it’s a blinding effort from an iconic band!

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Review by Brad Halcrow for The Songbird HQ