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The Linda Lindas Let Growing Up Get Messier on GOTTA GET OUT

The band's twelve-song third album keeps its communal punk energy while Closer, featuring Hayley Williams, makes room for fear, time, and tenderness.

The Linda Lindas have always understood that growing up is not a clean, private process. It happens in public, in bands, in friendships, and in the awkward distance between the person you were last year and the person everyone expects you to become next. GOTTA GET OUT, arriving August 28, gives that tension a twelve-song frame without asking the band to trade immediacy for seriousness.

The early songs point toward a wider emotional range. "Closer," featuring Hayley Williams, approaches getting older through an emo lens; "Burning Out" and "Blood On Our Hands" suggest that exhaustion and consequence sit alongside the rush. Those titles do not abandon the fast, communal energy that made the band's earliest work connect. They give that energy more things to push against.

## A Collaboration Across Generations

Williams is a particularly useful guest because the collaboration reads as a conversation rather than a co-sign. She has spent years writing about performance, identity, and time from inside a public band. The Linda Lindas are encountering versions of those pressures at a different stage. "Closer" lets the overlap become audible without pretending the perspectives are identical.

That matters for a group whose members have grown up in view of the audience. Young voices are often praised for sounding fearless, then punished when they reveal doubt or change direction. GOTTA GET OUT can reject that false choice. Punk directness is not the absence of uncertainty; it is a way to make uncertainty shareable.

## Bigger Without Losing the Room

The band's third album follows No Obligation and arrives at a moment when its audience extends far beyond the Los Angeles scene that first shaped it. The challenge is not whether The Linda Lindas can sound bigger. It is whether the songs can keep the feeling that several people are discovering the chorus together.

When the album arrives August 28, listen for the moments that resist polish: a voice entering before the previous one has fully left, a guitar part that keeps its rough edge, a joke or admission that feels too specific to be focus-tested. GOTTA GET OUT has the opportunity to make growth sound less like leaving youth behind and more like learning how many emotions can fit inside the same loud song.

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