Lambrini Girls - Who Let The Dogs Out
Lambrini Girls have been a rising force in the UK punk scene, with their explosive singles that bring modern punk's popping energy. Tracks like Help Me, I'm Gay, and White Van became underground anthems because of their reputation and for biting social commentary. With their debut full-length album, Who Let the Dogs Out, the duo takes their signature chaos to the next
level. Who Let the Dogs Out, was released in January 2025 and is a ferocious second entry into the punk rock scene. The Brighton-based duo, comprising singer-guitarist Phoebe Lunny and bassist Lilly Macieira, delivers a barrage of tracks that confront societal issues head-on. Ten tracks and roughly 29 minutes of music are a potent potion from such a band.
Bad Apple
"Bad Apple" critiques institutional corruption at its rotten core, explicitly targeting the police force. The phrase "a few bad apples" has long been used as a dismissive excuse for systemic issues, and Lambrini Girls rip that rhetoric apart. Lunny's screams are unfiltered, mirroring the frustration of a generation disillusioned by authority figures who abuse their power. The bassline is deep and menacing, driving the track forward like a force of nature. The song's energy resembles that of early Bikini Kill or Dead Kennedys, and its production adds to its immediacy. At just over two minutes, "Bad Apple" is an adrenaline rush of distorted chaos, perfectly capturing the band's DIY ethos and politically charged aggression.
Company Culture
In "Company Culture," Lambrini Girls’ resent obliterates the toxic realities of the modern workplace, portraying a chaotic punk anthem that feels like submitting your resignation letter with a Molotov cocktail attached. The track launches into an unrelenting barrage of distorted guitars and hammering drums, setting the perfect backdrop for Phoebe Lunny's acerbic vocals. She snarls through a critique of performative office environments, where "team bonding" and "corporate wellness" serve as flimsy covers for exploitation. The lyrics drip with sarcasm, mocking the absurdity of mandatory fun and empty HR slogans while employees are overworked and underpaid. This is a battle cry for everyone who's ever been forced to sit through a condescending PowerPoint on "work-life balance" while drowning in unpaid overtime. It's loud, it's pissed off, and it's a great punk song.
Big Dick Energy
Now, my personal favorite is "Big Dick Energy." It's a song that satirizes the bravado of hypermasculine posturing, with Lunny taking shots at fragile egos that depend on dominance and intimidation. Thanks to Lilly, the bass rumbles like an oncoming riot, grounding the track's frenzied energy as the guitars shred and screech in the background like sirens at a crime scene. Musically, this song channels the intensity of The Slits with a dose of modern punk reminiscent of Amyl and the Sniffers.
The track doesn't just take the piss—it's a full-blown exorcism of societal expectations surrounding masculinity, transforming the phrase "big dick energy" from a supposed compliment into a critique of outdated gender norms. At just over two minutes, the song delivers a punch to the gut and a middle finger to performative toughness. This serves as a prime example of why they're one of the most vital voices in punk right now!
No Homo
With "No Homo," Lambrini Girls take on internalized homophobia and queer repression with a mix of scathing humor and anger. It's a track that flips the script on the phrase so often used to deflect vulnerability, turning it into a raucous, sarcastic, and ultimately liberating anthem of self-acceptance. The song begins deceptively sweet, with saccharine harmonies playfully crooning, "I like your face, but not in a gay way." This is a tongue-in-cheek nod to the awkward, closeted justifications LGBTQ+ people often feel pressured to make. Within seconds, the track explodes into a frenzied assault of screeching guitars and unrelenting drums. It's a battle cry for everyone who needs to edit themselves to fit into a world like today.
Nothing tastes as good as it feels.
Lambrini Girls takes a raw dive into body image, disordered eating, and societal pressure in "Nothing Tastes as Good as It Feels." The title itself is a biting play on the toxic phrase often used to justify self-denial, twisting it into a furious rejection of the beauty standards that push people to extremes. The song mirrors the anxiety and obsession that come with an unhealthy relationship with food and self-worth. Lunny's vocals teeter between sarcasm and gut-wrenching sincerity as she spits out lyrics that expose the self-destructive mantras ingrained in our culture.
The end of the song suggests confrontation. Lambrini Girls don't offer neat resolutions or comforting platitudes. Instead, they scream ugly truths into the void and force the world to listen.
You're Not From Around Here
With "You're Not From Around Here," Lambrini Girls sharpen their focus on xenophobia and gentrification. They craft a punk anthem that exposes the alienation felt by marginalized communities in rapidly changing neighborhoods. Lunny's voice is a perfect mix of seething frustration and defiance as she sings about the constant othering faced by outsiders in a world where borders—both literal and social—seem to define who belongs and who doesn't. The lyrics are sharp, with Lunny capturing the cold, dismissive attitude of a privileged few who view others as "outsiders," regardless of their experiences or contributions. In its three minutes, "You're Not From Around Here" captures the tension of living in a world where displacement and exclusion are part of everyday life.
Filthy Rich Nepo Baby
In "Filthy Rich Nepo Baby," Lambrini Girls unleashes a scathing, no-holds-barred critique of privilege and nepotism. They aim their fiery punk energy directly at the entitled elite who coast through life on the coattails of family wealth and connections. This song feels like the musical equivalent of throwing a drink in someone's face, a punk rock splash to the privileged who live their lives without ever questioning the systems that keep them on top. Ultimately, this song is a furious anthem for anyone who's had to claw their way up while watching others effortlessly coast on their family name. Lambrini Girls are at their best when angry, and this track proves that their rage is more than justified.
Special Different
In "Special, Different," Lambrini Girls tackles the tension between individuality and conformity, producing a tune that explores neurodivergence and the struggle to fit into a world that demands conformity. The track opens with a bassline from Lilly Macieira, setting a determined tone before the guitars kick in, which creates urgency and emotional depth. By the time the song ends, you feel both the slow weight of its message and the liberation of its delivery. "Special, Different" is an anthem for anyone who's ever been made to feel like they don't belong. Lambrini Girls channel that frustration into a fiery declaration of independence, clarifying that being different isn't a flaw; it's what makes you unique.
Love
In "Love," Lambrini Girls take a brief but powerful detour from their usual punk aggression to deliver a more introspective track that explores the complexities of self-acceptance and their thoughts on personal relationships. Ultimately, this song reminds us that punk isn't just about rage but also about exploring the full spectrum of human emotion. Lambrini Girls bring their signature intensity to a far more personal topic, delivering a track that feels both cathartic and introspective. They show they can take on vulnerability with the same honesty and power they apply to everything else.
Cuntology 101
In "Cuntology 101," Lambrini Girls delivers a blistering, somewhat groovy anthem that reclaims and redefines a word used as a weapon of degradation. This track is a punk masterclass in taking back power loudly and unapologetically. The song begins with an explosive burst of distortion and chaos, immediately establishing a defiant tone as Phoebe Lunny's vocals slice through the noise with righteous anger. The lyrics are as confrontational as the title suggests, with Lunny fiercely flipping the script on societal attempts to demonize women and feminine power. "You call me a cunt, but I'm the one in control"—the message is clear: Lambrini Girls aren't here to apologize for being bold. They wear the term as a badge of honor, reclaiming it from those who use it to shame women into
silence.
Lambrini Girls' “Who Let the Dogs Out” is a furious blast of punk that demonstrates this band is here to stay. Through their expression of privilege, societal norms, and personal empowerment, every track on the album showcases their raw emotion and sharp social commentary. Lambrini Girls crafts music that is as electrifying as it is essential. “Who Let the Dogs Out” isn't just an album; it's a rallying cry for anyone who refuses to be silenced. If this is just the beginning, then the punk scene has a lot more chaos and power on the way.