Music writer Luke Pierce Powell reviews Jack White’s latest album, No Name
The modern-day king of rock ‘n’ roll is back with a surprise release under his own Third Man Records—No Name. Up until now, Jack White has been on a rollercoaster of highs and lows throughout his career. Following the wildly experimental Boarding House Reach in 2018, White returned with the double release of Fear of the Dawn and Entering Heaven Alive. While both albums retained the essence of classic Jack White, they left much to be desired.
However, it is clear that Jack has been on a journey of self-realisation regarding his relationship with music. No Name marks a return to basics, not just to the sounds of his debut and sophomore solo albums Blunderbuss and Lazaretto, but to the raw energy of hisWhite Stripes days.
Fans have been craving this for a long time, and in typical Jack White fashion, he released this gem without any warning—no announcements, no lead single, no title, and no tracklist. Initially, the record was only available in Third Man Record Stores, with no album sleeve or cover, pressed on white vinyl that blended seamlessly with its paper covering. After a few days, it finally hit streaming platforms, quickly becoming one of my favourite releases this year.
…it is clear that Jack has been on a journey of self-realisation regarding his relationship with music. No Name marks a return to basics…
White has always had an interesting relationship with music. After the enormous success of The White Stripes, White began his solo career on a high note with Blunderbuss, a multi-award-winning record. He then channelled his passion for music through his record company, Third Man Records. The company became a pioneer in the guitar pedal game and a beacon for up-and-coming artists, offering them opportunities rarely granted by larger, more commercial labels. It is also worth noting how Third Man Records has played a crucial role in keeping the vinyl industry alive before its resurgence in the 2010s. Despite White famously stating that TMR makes zero profit from vinyl production, he continually threw funds at it, attempting to recapture the excitement and artistry behind their creation.
It was 2018’s Boarding House Reach that seemed to be the pinnacle of White’s exploration of his feelings toward music. After a year of self-imposed exile from all things musical—writing, playing, or listening—White returned to the studio to produce an album that channelled every influence he had gained throughout his lifetime, creating a sonic landscape free from traditional structure or formula. The result was a lyrical and musical masterpiece.
With No Name, White has corrected course, focusing on his greatest strength—his ability to write songs, not just music.
Following this came Fear of the Dawn and Entering Heaven Alive, which, while not bad records, felt overstuffed—trying too hard to recreate the artistic vision of Boarding House Reach within a blues-rock framework. They were weighed down by unnecessary sounds that added little to the overall experience.
With No Name, White has corrected course, focusing on his greatest strength—his ability to write songs, not just music. Each track is as explosive as the last, filled with the classic garage rock sound that propelled White to stardom. We are treated to everything from blues-punk to country slide guitar, all meticulously crafted.
The album showcases White’s knack for composing devastatingly catchy hooks, riffs, and guitar solos. Tracks like the opener ‘Old Scratch Blues’ build with overwhelming character, while ‘That’s How I’m Feeling’ sticks in your head with its simple four-chord groove. The signature White elements—short, high-pitched wails, fuzzy guitar solos, and shaky vocals—are present. But instead of overloading the tracks with filler, White has added only what’s needed, embracing structure without fear. He has returned to the Boarding House Reach mindset, focusing on sonic aesthetics and knowing when to pull back.
‘What’s the Rumpus?’ ends with a solo that sounds like a guitar being scraped with a washboard, coming out of nowhere yet fitting perfectly, beautifully mixed and mastered. Even small details, like the distant-sounding vocal hook on ‘Tonight (Was a Long Time Ago),’ offer moments to catch your breath before being hit full force again.
White also taps into something primal and feral, particularly on ‘Missionary’. While fans might see it as a commentary on his religious past, White seems to be referring to “missionary” in a more adult sense. Paired with manic laughter and lyrics like ‘Put me in that position / I’ll make you miss me again,’ we see a side of Jack rarely glimpsed before. The track ‘Archbishop Harold Holmes’, a personal favourite of mine, has White adopting a new moniker, delivering a passionately manic sermon with a delivery reminiscent of a young David Byrne.
In my view, No Name is one of the most entertaining and solid rock records of the year, capturing an energy that has been sorely missed.
As mentioned before, lyrically, this may be one of his densest projects, touching on themes of God, music, the industry, and his place within it all. ‘What’s the Rumpus?’ sees White pointing fingers at the music industry more than ever, questioning, ‘When will the label dump us? (…) Now what genre will they lump us?’ He goes further, adding ‘I’ll bring back Sansui from the dead,’ referencing the defunct Japanese audio manufacturer, underscoring his passion for the underdogs in the world of music production.
‘Bless Yourself’ showcases White fully embracing a blues-punk attitude, yelling about agnosticism and the modern need to love oneself before a deity: ‘If God’s too busy, then I’ll bless myself.’ With a rebellious attitude, he provokes us to fight against whatever hierarchy we find ourselves in: “If you’re a cop, then arrest yourself.”
The album’s reliance on repetition means that after multiple listens, it may become slightly predictable, losing some of the excitement it captured on the first playthrough. But as Jack embarks on a new tour—one with no announced dates, times, or locations—I am certain audiences will be overwhelmed by the immense attitude and danceability of these new tracks. In my view, No Name is one of the most entertaining and solid rock records of the year, capturing an energy that has been sorely missed.
8/10
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