After nearly three decades in the game, Stereophonics have returned with their thirteenth studio album, Make ‘Em Laugh, Make ‘Em Cry, Make ‘Em Wait — a sharp, stripped-back statement that proves they’ve still got plenty to say, and the precision to say it well.

At just eight tracks, the album is refreshingly lean — a confident move that signals intent over indulgence. There’s no flab here, just melody, muscle, and meaning. It opens with Make It On Your Own, a soaring anthem built around a piano hook that feels instantly familiar yet strikingly fresh. Bolstered by cinematic strings and that signature gravel-kissed vocal from Kelly Jones, it radiates hope without a hint of cliché — like a sunrise breaking through over the South Wales valleys.

The flow of the record feels deliberate, with There’s Always Gonna Be Something gliding in on a steady groove, carrying a kind of grounded optimism — the sort of tune you find yourself humming before you even know the words. Then there’s Mary Is A Singer, a bona fide standout with its toe-tapping rhythm and harmonica flourishes, evoking a playful, road-trip spirit with lyrical depth.

Moments like Colours of October embrace the reflective side of the band, adding contrast and emotional weight to the record’s shape. Offering space — a breather between the bolder brushstrokes — while showcasing the band’s long-honed ability to balance scale with sincerity. That sense of intimacy is carried even further on Seems Like You Don’t Know Me, a slow-burning highlight that trades grandeur for vulnerability. Carried by sparse, delicate instrumentation and one of Kelly Jones’ most exposed vocal performances in years, it aches with the quiet devastation of drifting relationships. It’s also the perfect chilled-out summer tune — the kind of track you can sink into on a warm afternoon, just watching the world drift by. It feels less like a song and more like a daydream caught on tape, airy and effortless in a way that only true craftsmanship can achieve. That balance is jolted back to life with Eyes Too Big for My Belly, a track that bristles with energy and swagger. It’s a reminder that, while Stereophonics can paint in soft pastels, they’re just as capable of plugging in and letting loose when the moment calls.

It’s no surprise that the more reflective tone of Make ‘Em Laugh, Make ‘Em Cry, Make ‘Em Wait echoes the path explored on Kelly Jones’ recent solo work and the Far From Saints project. That influence shines particularly on Backroom Boys and Feeling of Falling We Crave, where a more introspective, unhurried mood takes the spotlight. This isn’t an album chasing crowd-pleasers — it’s a record grounded in where the band are now: thoughtful, self-assured, and entirely on their own terms.

Even the album title and its artwork are steeped in that spirit. Make ‘Em Laugh, Make ‘Em Cry, Make ‘Em Wait was a phrase scribbled onto Kelly’s film school scripts by a tutor — a structure for storytelling that’s clearly stayed with him. That it resurfaces here not only shapes the arc of the record, but also inspired the striking artwork: scrawled in red on a pink background, echoing a Louise Bourgeois postcard that caught Kelly’s eye in a New York museum gift shop. The phrase, the colours, the emotional pacing — they’re all reflections of a creative mind tuned inward, drawing from memory rather than market trends.

That honesty runs throughout the tracklist, giving the album its laid-back, summery feel — calm and considered. It’s this more mellow, inward-looking approach that quietly defines the album and makes it such a compelling step forward.

What truly shines across Make ‘Em Laugh, Make ‘Em Cry, Make ‘Em Wait is a band at peace with their past, but still pushing forward. The songwriting is tight, the arrangements confident, and the overall tone one of renewal. This is Stereophonics doing what they do best — telling stories, stirring hearts, and sounding like no one else in the process.

You can purchase the album here.

Check out more of our reviews and coverage here.