Nostalgia is a powerful force, and it goes without saying that music is one of its most potent enforcers. Our favourite songs are bound to be imbued with memories and meaning that stand the test of time, and the songs of a certain period will always be able to transport us right back there. For an entire generation, the opening notes of a Rizzle Kicks song is one such act of time travel, immediately conjuring the same elation and joy that it did on first release back in 2011. Rizzle Kicks mastered the art of the feel-good track, and as it happens, they haven't lost that knack. Nine years after they first went on hiatus, they're back - and better than ever.

Stepping seamlessly back into their wave-making ways, the duo - comprising of Jordan Stephens and Harley Alexander-Sule - celebrated their return with a live show at Camden's Koko at the tail end of 2024. From its announcement, it was abundantly clear that the appetite for a Rizzle Kicks comeback was ravenous, but it wasn't quite what the pair expected.

"If I'm honest, I said to our manager a few days before that I'll be really happy if we sell 300 tickets on the first day," Harley shares. "He said yeah, man, that'll be great. Then it sold out in 15 seconds."

With 1,500 tickets having flown out quicker than you could say 'Down With The Trumpets', and their latest single 'Javelin' already being met with delight, the countdown to Koko was well and truly on. The first live show back after such a long time apart was always going to be daunting, and it inevitably begged the question of how things might go down. To absolutely nobody's surprise, it was a blazing success.

"That show was mad," Harley recalls. "Every single person I've spoken to has said there was something going on in that crowd. Everyone was really happy, and you could feel that on stage. It felt like people genuinely were there, not to sound lame, but to live in the moment and enjoy themselves. It didn't feel like people were just looking for a social media moment. Actually, it felt like a lot of people turned up to have fun and enjoy themselves."

That first show back, and 'Javelin' too, continued in the vein of their original mission - ensuring that a good time is had by all. Yet, the Rizzle Kicks we know and love have grown a lot in the last nine years, and things have become far more complex than purely having a laugh. As they gear up to release their third album, 'Competition is for Losers', it is evident that Jordan and Harley have a lot more to say and a lot more ways to say it. It's a new side to the duo, one that veers off that feel-good course from time to time to reflect and ponder more intensely but feels more authentic than ever before.

"With 'Javelin', we really wanted to capture what people think of us," explains Harvey. "We wanted it to feel like we're back doing what we do best - bringing the sunshine, making people happy, dancing, bringing good energy. The album isn't really that at all, though. It's got its up moments, but there's a very good balance - it has its dark moments and slow songs. I think it's a sign of who we are as people now. I actually don't have the energy to do a 12-track album of all upbeat songs anymore."

The result is an album that favours a more exploratory approach, and impressively so. It comes after almost four years in the studio, getting back to grips with that dynamic and tinkering away to make a sound that felt representative of who Rizzle Kicks are in 2025. 'Competition is for Losers' could've taken many other forms, but its final one captures that essence perfectly, and it took time to get there.

"For me personally, the main thing I enjoy is making music," says Harley. "In the entirety of being a musician and what comes with it, the only bit I truly love is actually making music and specifically making music with Jordan. We wouldn't have decided to pursue coming back if we didn't think the music was really good. When we got back in the studio, there was just a vibe, man. We felt happy, and it was exciting, and we felt like the music was standing up; it was a good progression from what we used to put out. It just flowed from there."

Initially working with much of the same crew that they did on their first two albums, it was crucial for the two of them to craft an environment that was comfortable and familiar. The likes of Ant Whiting and Emily Phillips were on board to help them craft this, and the wheels were quickly set in motion. Once they settled into that space, however, the confidence grew and the opportunities to expand out of that inner circle felt too exciting not to take.

"I started to exercise properly, and it opened so many doors," Harley notes. "We started working with a lot of different producers and the music just came on so strong, and it was really exciting. We were in a box before, I guess, in terms of what we could achieve musically and sonically with them. As soon as we worked with one other producer, I was like, fucking hell, there are so many good musicians in the world. I then started to enjoy the process of meeting new producers and new writers, getting out there and doing sessions. It was a wicked few years of writing the album. It was slow, but it was worth it."

Jordan pitches in: "Harley doesn't put enough emphasis on the fact that he got really strong, and it changed his whole approach to being in the studio, which I thought was a fascinating testament to how much some sense of physical strength can show itself in other ways. The second he put all this time into it - it seems mad because it's spoken about in such odd circles - but quite literally going to the gym, releasing these endorphins, pushing these weights; they're an anti-anxiety. He'd be in the studio, and his body language would be a lot more open, his shoulders are back. That was a big game-changer."

With newfound mechanisms to approach things in a more healthy, sustainable way, the music naturally came along in leaps and bounds. It's just one example of how Jordan and Harley have changed and grown in their time away from Rizzle Kicks - others, they navigate in depth across the album. That time apart allowed them to develop in new ways, and made the process in many ways more enjoyable.

"I think generally the difference is that on the last few albums, I was definitely more of a driving force," Jordan reflects. "And this is something I've got to come to peace with with myself, but I was more of a difficult person back then. Not necessarily nasty, but difficult. I was cracked out on all sugary products, and I was difficult. This time, I was more chilled, I'm more collaborative and I'm less precious. I'm totally freaking out now the album has been delivered, but prior to that point… one of our mates we've been making stuff with said the other day that he finds it wild how quickly I'll just go into a vibe. If someone is making a song, nowadays I just want to make it, because why not? Whereas, for sure, eight or nine years ago, I would've been like nah, that's not right. I'd be constantly trying to mould something into something else before I can write to it."

Following what feels right in the moment proved fundamental in putting 'Competition is for Losers' together. Relinquishing those external pressures and doing things at their own pace was a vital lifeblood in the making of the album, and chasing an energy right there and then was a huge part of that.

"I'm a big believer that all of the ideas in the world are just hanging above our heads, and it is just about timing when you grab that idea," says Harley. "I think, often, when you're in a good vibe in the studio, and you're happy, and you're vibing, those ideas are lower and easier to grasp. It makes sense to me that if we're just vibing out on something, fuck it, let's move on. That idea is there now, and we can come back to it, so let's start something new. That's definitely something that Jordan has brought to the sessions in the past couple of years. I think that's a big part of why our album is really good."

Whether they would've been able to get to that stage without the time apart to work on themselves, reflect and return stronger is up for question. Things have changed massively since Rizzle Kicks last released music, both in the world at large and in the music industry itself. The pressure of the rat race can become crippling for many artists, and often does not exist harmoniously with the kind of fruitful, healthy approach that Rizzle Kicks have landed on here. The time apart allowed them to recognise that.

"I'm super happy we stepped away," says Jordan. "The promise of further notoriety and awards, I'm not sure from what I know now of that and internal balance or harmony. I don't think I really agree with what that's done for us. It's forced us to grow up. Capitalism is something that rewards productivity, but I don't think anyone should be ashamed of not being super productive, I really don't."

He continues: "Everyone should prioritise their own spiritual, physical and mental health otherwise there's no point. The exchange of personal energy and well-being for money and status is a hard one — the jury's out for me. Some people would say it's worth it, it's worth getting your head down, going through the fire and coming out the other end, but I can't speak on other people. I'd understand if people would want to step away from this. Ambition has been co-opted by capitalism. People should be having fun and playing, and when it's not fun anymore…"

"There's something not as special about music anymore in my opinion," Harley adds. "Even around our time, because there wasn't just this outpouring of content and whatever. When artists release an album, we were in the physical sales era, and the majority of our fans were kids. Those kids don't have loads of money. £10 is a lot of money to them, but that makes the whole thing more special. Nowadays, when you can get everything just like that, I don't think people appreciate it as much anymore; there's a part of that missing in this space. If more artists were to release less music and be less on it, I genuinely think their career would have more longevity if they just trusted in their fanbase. Look, we came back after not doing anything for nine years, and people are still there.

Those who stuck around will undoubtedly be rewarded, too. On 'Competition is for Losers', Rizzle Kicks are in constant flux. On 'Pleasure & Pain', for which they called upon longtime friend Maverick Sabre, they show a more soulful side to themselves. 'Vice', however, sees them at what is arguably their most pop yet - a gleeful declaration of a love, it's a moment of pure joy. "It's a big celebration of love," Harley says. "I think that's a nice thread through our album as well that we wanted to talk about because a lot of this album is about our progression and who we are as men and humans. I think it's nice to talk about that kind of thing, and we should be proud to. There's not many straight young men who talk about it in a positive way."

They bring the last nine years to life in these tracks - from grappling with sobriety on 'It's A Tricky One', to scathing perspectives on the landscape they came up in on 'Gumdrops', Rizzle Kicks don't hold back here. Bouncing between different vibes and documenting those experiences that have shaped them and their growth, 'Competition is for Losers' sees Rizzle Kicks return with new zest. There's no hiatus on the horizon this time - there's a new longevity to Rizzle Kicks, and 'Competition is for Losers' is only the beginning.