If indie rock had a heartbeat, it would probably be pulsing somewhere in Los Angeles tonight, and The Pretty Flowers would be playing straight through it. Their new single, “To Be So Cool,” from the upcoming Never Felt Bitter, is not just a song—it’s a live wire of sound, a joyous, bruising blast of melodic indie rock that makes you want to stage dive into your own living room.

Formed in 2013 by songwriter Noah Green, The Pretty Flowers have spent the last decade refining their alchemy of pop hooks and raw, muscular rock energy. By 2018, the lineup that fans now know and adore—Green on vocals and guitar, Sam Tiger on bass, Jake Gideon on guitar, and Sean Christopher Johnson on drums—was solidified, and their debut, Why Trains Crash, made immediate waves. Now, with their third LP looming, the band feels like a veteran crew who’ve survived the dive bars, back alleys, and neon nights of Southern California, tempered by hundreds of shows and countless inside jokes, arguments, and eureka moments.

“To Be So Cool” is the perfect showcase of this hard-earned chemistry. At first listen, it’s pure adrenaline—a fuzzed-out riff hurtles forward, Green’s vocals cutting through with a sly, effortless charm. Yet beneath the rush of the music lies a subtler, almost literary quality. Green himself has admitted that the lyrics “just seemed to flow” during writing, unforced and unpolished, yet months later, the words struck him as resonating with the tragicomic dynamics of the cult film Withnail & I. One can imagine some ambitious community college English student someday writing an essay drawing parallels between the song’s perspective and the hapless Withnail—though with this band, the point is never to be pedantic; it’s to be alive in the moment.

That’s the essence of The Pretty Flowers. Their music is at once cerebral and physical, a tension between thinking and feeling that feels especially potent in their first two singles, “Came Back Kicking” and “To Be So Cool”. Johnson captures this sense perfectly: “There’s a sense of urgency, fear and confusion that comes across in these new songs,” he says, pointing to the backdrop of a city in constant upheaval—politics, fires, ICE raids. There’s a sense that the world might be slipping out from under them, and yet they continue to make music with ferocious joy, as if to assert that life, no matter how chaotic, deserves a soundtrack.

Musically, “To Be So Cool” nods to the giants without being beholden to them. There are echoes of The Replacements’ rollicking sincerity, Teenage Fanclub’s harmonic warmth, and Wilco’s quiet insistence on beauty in the everyday. But The Pretty Flowers aren’t in the business of nostalgia. Gideon puts it bluntly: “When your goals as a band do not include fame and fortune, it gives you a freedom to follow your instincts and focus on the real reasons you were compelled to make art in the first place.” This song proves that freedom isn’t just theoretical—it’s audible, in the way the guitars skate and clang, in the way Green’s voice can both flirt and roar, in the way Tiger and Johnson lock into rhythms that feel alive rather than calculated.

One of the things that makes The Pretty Flowers special is how human they feel. Tiger emphasizes that the album is “only the four of us together… a push and pull. Discussions, arguments, agreements and trust.” That sense of band-as-family resonates through “To Be So Cool.” You can almost hear the back-and-forth in the studio, the laughter and the minor frustrations that ultimately shape the music’s heartbeat. Listening to the song, you feel part of that camaraderie, like you’re sneaking into the room and catching something both intimate and electric.

Lyrically, the song hits a sweet spot between carefree swagger and thoughtful observation. Green’s lines, flowing as naturally as conversation, hint at a story larger than the song itself—of friendship, of watching someone navigate life’s absurdities, of trying and failing and laughing anyway. The connection to Withnail & I isn’t forced; it’s a reminder that art can be both specific and universal, anchored in a moment yet open to endless reinterpretation. In other words, it’s both a personal diary entry and a communal shout, a song that can live in the ether of music history wherever it wants.

“To Be So Cool” is also a reminder of what live music can do. Green calls it “a blast to play live,” and one listen confirms why. The song has the kinetic energy of a band that knows its instruments, its audience, and its own story. It’s the kind of track that can make a sweaty club feel like a sanctuary and a living room feel like a dive bar.

Ultimately, The Pretty Flowers are reminding us why we still need bands like this. In a world dominated by fleeting trends and algorithmic playlists, they make music that refuses to be disposable. Their songs are alive, urgent, messy, and perfect in their imperfection. “To Be So Cool” is a celebration of that vitality—a song that makes you feel the joy, the confusion, and the occasional despair of life, and somehow makes all of it feel beautiful. Lester Bangs once wrote that rock ‘n’ roll is the poetry of the real world, and on this single, The Pretty Flowers prove it once again. They’ve captured lightning in a bottle, and the spark is contagious.