TikTok recently pointed me toward The Sweet Spot through a handful of their 2025 singles. Those songs hooked me, so instead of stopping there I kept digging backward through their catalog.
I’m glad I did.
Listening in reverse almost felt like watching the band evolve backwards. I started with these polished, high-octane rock anthems and gradually worked my way back through power pop, punk, new wave, classic rock, indie rock and some much stranger territory.
“Last Dollar” (2025)
My first thought was, “This sounds like a hit song.”
There’s a swaggering riff, a killer groove and this bounce and strut to the whole thing. I hear that high-energy 80s pop rock blending with the pop-minded indie rock of the 2000s. Pat Benatar. Blondie. The Cars. It’s all bouncing around in there without the song sounding like it belongs to another era.
It’s impossible not to want to move when this song comes on.
Madison Indre’s vocals give the whole thing its attitude. She sounds like she could sing just about anything.
The phrase “last dollar” immediately suggests desperation. You’ve run out of money. You’ve pushed your luck too far. Yet nothing about the music sounds defeated. Instead, the band turns financial uncertainty into a victory lap. The song almost argues that taking the risk is worth it. If you’re going to spend your last dollar, spend it chasing the life you actually want.
It’s an enormous anthem that I found myself playing on repeat.
“SPFU (Burn)” (2025)
This one takes a big, chunky early-’80s guitar riff and runs it through modern indie rock. It’s another ridiculously catchy song.
I love Indre’s vocals here. She drops into this low, sultry, almost spoken-word register and then explodes into a melodic, hypnotic chorus.
And that chorus is wildly perfect.
Even the drum fills in the bridge are divine.
It comes across like a song about knowing someone is terrible for you and sprinting toward them anyway.
This may be my favorite track they’ve released.
“Missed Calls” (2025)
The 80s punk and new-wave energy continues. I hear The Go-Go’s, but there’s also something almost like Elvis Costello & The Attractions, particularly in the frantic rhythm section and explosive drums.
This thing is frenetic. Explosive. Infectious. The vocals go from sweet to near volcanic as the song erupts.
The song captures the moment someone finally stops answering the phone—not out of spite, but out of self-preservation. Missing the call becomes an act of freedom.
“I’m Out” (2025)
This one is just high octane. Racing at an eleven.
Spoken-word verses, a chunky guitar riff, multitracked vocals and this dirty punk swagger all get thrown over a beat that makes the whole thing surprisingly danceable.
It’s the ultimate post-breakup catharsis.
Loud, unapologetic, and incredibly fun.
Looking Back (2024–2021)
Working backward through the catalog, I started hearing where some of that 2025 sound might have come from.
“My Riot” embraces late-70s punk and new wave, pairing roaring guitars with doo-wop inspired backing vocals to create another irresistible anthem about finally reaching your breaking point.
“Passenger Side” leans into arena-sized power pop, blending Cheap Trick-style guitars with lush ELO-inspired harmonies.
It moves so fast that I have trouble catching all of it, but I get this feeling of realizing you’ve spent too much time sitting in the passenger seat of your own life.
“Euphoria” slows things down a little and feels more modern. The punk and new-wave influences aren’t as pronounced.
It’s also a change lyrically. After all these songs about relationships falling apart, this sounds like the rush of something beginning. I love how the song speeds up as it goes, almost like the excitement itself is accelerating.
“Shadow Shadow” comes from a completely different school of rock. If some of these songs were born from punk and new wave, this feels closer to Beatles-influenced pop. Clean guitars, a perfectly placed riff leading into the chorus and a gentler vocal performance give everything room to breathe.
The song seems caught up in that fear that failures from past relationships are destined to screw up the one you’re in now.
“Golden Hour” starts showing more of the big power-guitar sound that turns up in 2025. Classic rock riffs that feel like riding a roller-coaster meet soaring vocal harmonies that take over. Indre gets to show off her voice again, dropping low before everything pops.
I also like the idea of the golden hour describing that perfect moment in a relationship when everything feels right even though you know it may be fleeting.
“The Stream,” the earliest song I found, surprised me the most. It opens with Indre nearly unaccompanied, singing in these sharp phrases where the words seem to stop hard rather than flow smoothly. Then the band arrives and everything gets psychedelic, spacious and much more complicated.
I hear flashes of Alanis Morissette and Sinéad O’Connor in the vocals, along with some of the more atmospheric side of 90s alternative rock.
There’s a lot going on here. Structurally, it’s much more ambitious than the later songs, and I had trouble catching some of the lyrics. What I kept getting from it was this sense of self-reliance and trying to find your way through your own head.
The 2025 songs are these powerful punk-pop-rock anthems that turn romantic chaos into huge hooks. Go further back and things become more introspective, layered and strange.
But the thing that remained remarkably consistent was how damn catchy they are.
There’s something familiar about these songs that makes them feel like you’ve known them forever while still giving me the excitement of discovering something new.
Just as impressive is Madison Indre’s voice. She clearly has the range to overpower these songs, but she almost never does. Instead, she understands exactly when to hold back and when a chorus deserves to explode.
I really, really like The Sweet Spot. These are some of the strongest songs I’ve heard from an artist I found on TikTok.
Verdict: Great
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