No Mustard, No Apologies: Bad Americans Live at Molly Malone’s
january 24th, 2026 • molly malone’s • hollywood, california
full gallery can be found here
Their debut album is set to be released in April 2026, although a specific date has not been chosen yet. The group will also be releasing vinyls (limited run of 200) pressed by Licorice Pizza and will be available prior to the album’s official launch. Side note, there is a special song that will only be released on vinyl, so you may want to go and order one now when you have the chance. They also had an extra red suit jacket in the back of the room for those attending to sign, and I’m mad the sharpie went missing by the end of the night since I never got the chance to sign it. Next time.
Overall, Bad Americans is an up-and-coming band with much potential that ties their influences to their own sound in a very strong way that often ends up leaving you with feelings of nostalgia. I’m really excited to see where this album takes them and see how they grow as musicians individually as well as in their unit. Hopefully I will be able to make it to the album release show and maybe hear some of the songs that they didn’t get the chance to preform on Saturday.
A hidden room with a stage tucked into the back of an Irish pub in Hollywood, California, is an ideal place to find yourself on a Saturday night—especially when good music is involved. On Saturday, January 24, I found myself at Molly Malone’s, a venue I’d long wanted to visit, thanks to an invitation from a friend to see his band perform. Molly Malone’s is a family-owned Irish pub and music venue that has been operating for more than 50 years. It began as a gathering place for the local Irish community, often hosting traditional Irish music. Over time, it has evolved into a respected stomping ground for emerging artists. According to the venue’s website, artists such as Flogging Molly, Joan Osborne, and Lenny Kravitz have all performed on its stage. Today, it remains a perfect setting to grab a drink, meet new people, catch live music, or enjoy all three at once.
That night, I was there to see the up-and-coming band Bad Americans. Back in November, while waiting outside the iconic Roxy Theatre for my friends’ band to arrive and kick off their tour, I happened upon Lucas Horne filming promotional videos for Bad Americans—videos I unexpectedly ended up appearing in myself. We exchanged contact information, and two months later, Horne invited me to shoot the band’s show at Molly Malone’s. I eagerly accepted, even though I hadn’t yet had the chance to fully dive into their music.
Bad Americans are an indie/alternative band that officially formed in April 2025, though their origins are anything but conventional. The group first came together to film a music video for their debut single, “Nothing to Lose,” and, unusually, the members didn’t all meet until after the album had already been recorded. Frontman and vocalist Lucas Horne was introduced to drummer Eddy Barco, who reached out with a simple proposition: he had heard the band needed a drummer and was ready to jump in. From there, Barco suggested several bassists, but after a single meeting, Horne knew Audrey Bean was the right fit. Guitarist Wess has been with the band since the beginning, despite also leading his own project, Curse. While the group is grateful for his continued involvement, they acknowledge that a full-time guitarist may eventually be needed—though the future remains open. The upcoming album features production by Kenny Carkeet, mixing and mastering by Stephan Hawkes, and co-writing credits from Lucas Horne and Wolf Bradley.
The band’s name, Bad Americans, stems from Horne’s personal experiences of being labeled exactly that—both directly and indirectly. He attributes the sentiment partly to trivial quirks (such as his dislike of mustard on hot dogs) and more meaningfully to his belief that no single ideology or lifestyle should be imposed on others, a perspective that often runs counter to mainstream American expectations. The name emerged during a conversation between Horne and producer Kenny Carkeet in 2024. After hearing the album and discussing potential band names, Horne suggested Bad Americans—a choice Carkeet immediately endorsed, joking that he would steal the name if Horne didn’t claim it himself.
One image is likely to linger after even a single glance at the band: their striking red suits. Horne, who grew up in a fairly religious environment, was long influenced by the phrase “wear your Sunday best.” That concept now carries into the band’s visual and thematic identity. Their debut album introduces ideas of religion, conformity, and the pressure to fit prescribed molds. While the color red carries multiple meanings, Horne cites artists like twenty one pilots, Imagine Dragons, and AWOLNATION—bands known for their bold visuals and unapologetic convictions—as key inspirations. For now, the red suits are here to stay, even if future albums usher in new visual eras.
When Bad Americans launched into their set on Saturday night, I was instantly transported back to the alternative and indie sound that dominated the 2014–2017 era. After speaking with frontman Lucas Horne and learning more about the artists who influence him, that impression felt entirely validated. While the band cites Imagine Dragons as an inspiration, their overall sound and aesthetic reminded me more of indie-pop group Youngblood Hawke, particularly their 2012 breakout single “We Come Running.” The members played off one another with ease, and Horne—jokingly battling the aftermath of a ramen meal from the night before—kept the energy high with quick wit and engaging banter, both with his bandmates and the audience.
The set ran roughly 40 minutes, and while it was consistently engaging, two songs stood out in particular. My favorite came midway through the performance: “Knocking on the Door,” released on streaming platforms in early July 2025. While the recorded version is strong, the live performance elevates the song considerably. The bass and kick drum hit with a heavy, looming presence, giving the rhythm a sense of intention and urgency. It was one of those moments where you don’t just hear the music—you feel it. The chorus, especially, captured the nostalgic spirit of the mid-2010s alternative era, making it a standout highlight of the night.
Another memorable moment arrived toward the end of the set with “Skeleton,” a deeply personal and emotionally raw song for Horne. Performed solo with just an acoustic guitar, the stripped-down arrangement allowed the vulnerability in his voice to take center stage. While the song lacks the layered production of the rest of the set, it was hauntingly beautiful and left a lasting impression. The fact that “Skeleton” will not be released on streaming platforms only adds to its intimacy, making it feel like a moment reserved for those present in the room.
“Ghost Hunting” brought a different energy, opening with playful synths and light EDM elements that immediately caught my attention. The introduction reminded me of “The Outside” by twenty one pilots from their 2021 album Scaled and Icy—not in melody or key, but in its use of digital textures and atmospheric beats. Whether that connection stands out to everyone or just fellow twenty one pilots fans, the similarity is there. The song’s chorus was particularly fun, featuring crowd participation through its infectious “nah-nah-nah” refrain. For listeners craving more mid-2010s nostalgia, “Reckoning” is another standout, drawing clear parallels to Imagine Dragons’ Evolve era, especially tracks like “Believer.” Much of that comparison comes from Horne’s vocal delivery and lyrical articulation, paired with the song’s stuttered, static-infused beats.
Bad Americans’ debut album is slated for release in April 2026, though an official date has yet to be announced. The band also plans to release a limited run of 200 vinyl records, pressed by Licorice Pizza, which will be available ahead of the album’s release. Notably, the vinyl will include an exclusive track unavailable anywhere else—a compelling incentive for collectors. In a charming final touch, the band left an extra red suit jacket in the back of the room for attendees to sign. Unfortunately, the Sharpie disappeared before I had the chance to add my name—but there’s always next time.
Overall, Bad Americans are an emerging band with clear potential, blending their influences into a sound that feels both intentional and nostalgic without becoming derivative. Their performance at Molly Malone’s left me excited not only for the upcoming album, but for how the band will continue to evolve—both individually and as a unit. With any luck, I’ll be there for the album release show, ready to hear the songs that didn’t make it into Saturday night’s set.
