Since their debut in 2008, Irish rock band The Script has gone through a lot of change, evolving from a folk rock band you would hear in a pub to a power pop arena band.
But their seventh album Satellites, released Friday, follows their reckoning with the biggest change they have seen yet: the loss of their friend, founding member Mark Sheehan.
Sheehan, who had served as the band’s lead guitarist since their formation in 2001, died in 2023 from a brief illness at the age of 46.
Although the Dublin-based band has always excelled at conjuring feelings of unrequited love, longing for better days, heartbreak, or even grief, Satellites sees them tackle these subjects on a far more personal and serious level.
The lyrics of “At Your Feet” directly address Sheehan’s death, with the chorus acknowledging the impact he had on frontman Danny O’Donoghue, who was his best friend since childhood, and implies that O’Donoghue feels lost without him.
Even from just the first verse, it reads like a eulogy being given at a funeral. The song’s instrumentation is kept pretty simple to allow the lyrics to shine through, with Glen Power’s impactful drumming and O’Donoghue’s wistful singing and piano playing serving as its backbone.
“Home is Where the Hurt Is” reopens old wounds stemming from family trauma and reflects on how they can continue to impact those affected, even if they go unnoticed at first. This theme of facing the past is driven home further by a reference to early Script hit “The Man Who Can’t Be Moved” in the first verse, saying that man is still just a child who has yet to move past their youth.
While “Gone” is given more of an anthemic edge to its composition by a memorable guitar riff and harmonies, the bittersweet lyrics about how O’Donoghue continues to carry Sheehan’s spirit with him on stage contrast it well.
While these songs take on a more somber tone than previous records, O’Donoghue also continues to utilize his pop songwriting and production sensibilities as the album’s primary producer, possibly as an additional tribute to Sheehan. He and Sheehan had formed a songwriting and production partnership during their time in a short-lived Irish boy band called Mytown.
Opener “Both Ways” is a good example. Lyrically, it chronicles two exes meeting again, with the narrator wanting their former partner back and wondering if they feel the same way. The hook is memorable and eager to excite, fitting for the song’s lyrical tone.
Sonically, it’s a direct continuation of their 2022 song “Dare You to Doubt Me,” their last song with Sheehan. Power’s drumming, including on a cowbell, remains effortlessly earwormy and O’Donoghue’s vocal delivery is bouncy and energetic. The addition of horns also adds personality to the track and gives the vibe of a marching band parade.
"Unsaid” continues in that sonic lane while sounding a bit more laidback, including hand claps and an easygoing guitar melody. The lyrics depict the struggle of imagining what your ex gets up to since you’ve separated.
The chorus references drug use as a potential lift for such a heavy burden, which could be rooted in O’Donoghue’s own personal experiences with substance abuse; he has gone on record saying he has gotten sober after struggling following Sheehan’s death. This adds an additional layer to Sheehan’s clear influence on the album.
On “One Thing I Got Right,” Power’s drumming is enhanced by the production by O’Donoghue, Iain Archer, and Jimbo Barry, which puts it under a poppier filter befitting of this optimistic track about that special person who gives you hope for the future.
The mixing on ”Falling Flying,” done by engineer Guy Massey, takes clear influence from 1980s pop music, incorporating the keyboards and synths well with the usual players. The lyrics also give off ‘80s vibes, telling a simple love story with a well-worn hook.
”Before You Go” provides another showcase for Power, this time with his cymbal playing that offers a sweet backdrop for a ballad questioning a relationship’s direction in a way that harkens back to another early Script hit, “Breakeven.”
The penultimate track ”Promises” contains a simple yet well-executed lyrical premise about wanting to take a relationship slowly, supported by a subdued vocal performance by O’Donoghue and ear-pleasing keyboards.
“Run Run Run” closes out the record on a high note, juxtaposing lyrics waxing nostalgia for the band’s roots with an upbeat instrumentation in line with their present, coming full circle to the sound of the opening salvo.
Satellites also marks another first for the band: the first Script release to feature longtime touring bassist Benjamin Sargeant and new lead guitarist Ben Weaver as full-time members.
"The Script, as a three-piece, will never be the same, so transitioning to a four-piece feels like the right way to go,”
O’Donoghue and Power said on social media.
While Sheehan’s playing presence is missed here, Sargeant and Weaver prove themselves to be worthy replacements. The bass, usually an afterthought on past Script songs, comes alive on tracks like “Both Ways” and “Falling Flying,” while the guitar continues to stand out on songs like “Home is Where the Hurt Is” and “Promises.”
Despite the best of intentions on here, not everything off Satellites is a complete winner.
While “Inside Out” is bolstered by an earworm acoustic guitar riff from Weaver, the lyrics lean hard into the theme of social media’s effect on mental health, particularly the fast-moving and oft-depressing news cycle. However, the execution doesn’t quite work and at times comes off like a parent’s misguided interpretation of these topics.
Likewise, the title track is quite pleasant to listen to from a musical standpoint, but the songwriting, which seems to muse about how an ex’s betrayal affects someone, is confusing and overly melodramatic at some points, to the point where such an interpretation is stretching it.
Overall, Satellites shows the Script opting out of solely mourning their bandmate’s death, choosing instead to continue paving the path he helped them cross. This leads to a balanced body of work that sonically recalls elements from all their previous records, whose imperfections only serve to flesh out the complete package further. In that way, the Script made a tribute reflective of a real person’s life and arguably their best album in years.
