Five of the most underrated Mac DeMarco songs of all time
When Mac DeMarco’s latest single ‘Holy’ dropped, we undeniably knew, it was time to wave goodbye to what fans formerly knew him as. The loveable slacker, as so many critics were keen to label him as, had grown into a serious songwriter. Still, he was swift to diffuse any praise and par it off as simplicity, invite anyone to string together a couple of chords and record it themselves. But his unique execution of what is seemingly rudimentary is a skill not many artists possess.
Upon listening to ‘Holy’ and ‘Home’ – the two singles from his forthcoming album Guitar – some fans are in mourning. They revel in what was clearly a period of personal struggle for the artist. His wholehearted approach to rockstar hedonism did indeed create compelling, fun and artistically comedic music, but it didn’t take an expert to see that weighed heavily on him.
Like a sort of circus animal, we lapped up the irreverence and asked for more. But in Rock and Roll Night Club, 2 and Salad Days we had enough, and in that safe space of reverberated chord progressions and noodly guitar solos, innovation had been compromised. To move forward, we had to let Mac do exactly what he was doing; grow up.
This Old Dog came and showcased some his finest songwriting to date, and a more refined approach to performance. In that sphere, it could give way to some long overdue introspection that over time has helped change the face of Mac DeMarco as an artist.
Now, he’s operating wholly under his own steam. Recording in his home studio, releasing albums on his own record label and filming his own music vidoes, creative control is firmly in his clutch. So it’s pretty telling of who he is as an artist, that his stripped back, Japanese pop inspired songwriting is once again championed.
Of his upcoming album, Guitar, DeMarco proudly described it as “a true representation of where I’m at in my life today as I can manage to put to paper.” He also added, “I’m happy to share this music, and look forward to playing these songs as many places as I’m able.”
So, if this new lane of Mac DeMarco is somewhat of an unfamiliar landscape for you, then allow me to revisit some of his most underrated songs of the past. Songs that now, in the slipstream of his new artistry, hold so much significance.
‘Baby Bye Bye’
Mac has made never shied away from his Paul McCartney appreciation. ‘K’ on this very same album was referenced as a direct rip-off, but outside of that both artists share an artistic playfulness that they filter into their songwriting. While most of this record tempered Mac’s usual ad-lib expression, on ‘Baby Bye Bye’ he leans back it into, screaming over descending guitar lines and bringing in the collective fun of some chorus harmonies.
But the very best bit about this song, is how it feels like all of his work combined into one. The verses are in keeping with the rest of Here Comes The Cowboy, while the chorus sounds strikingly similar to 2’s ‘Boe Zaah’. But in the middle section, he lets the song rest for a good minute before ripping back into a funk breakdown that absolutely ushered the way for the jam-led lift music we enjoyed on his sprawling, One Wayne G. It’s a musical mutt, but most of, it’s completely fun.
‘Just To Put Me Down’
OK, this list isn’t entirely about the moving on of Mac DeMarco. Troubled as it may have been at times, there’s simply no denying the musical fun that comes with his noodling guitar lines. That sort that you can instantly picture him playing, with his wide-eyed, gap-toothed grin, inviting you to nod along or, better yet, jam along. Because in essence, that’s what it is. It’s Mac, playing around the scales and cranking up the reverb to make music that makes us smile.
It’s fitting then that the lyrics navigate the paradox of feeling used for the purpose of fun. If the hooks weren’t so god damn catchy, this would be a tragic song about vulnerability and manipulation that a large part of Mac’s alternative and at times, socially obscure fan base could relate to. For a time though, this is what Mac did best. Corralled us all to the sounds of his reverb and celebrated the weird underbelly of our community.
‘Simply Paradise’
By 2023, we knew Mac could write a song. The unbridled fun of the early years had given way to finely crafted ballads that, inch by inch, revealed the makings of a truly interesting vocalist. With the backing of Ryan Paris on ‘Simply Paradise’, Mac let his songbird fly and provided us with his greatest vocal performance to date.
Over the top of a picky, Japanese inspired melody, he allows the synths to slowly walk him into the spotlight. Once there, he flies through the ranges with relative ease and evokes a brand new emotional response from us fans. But the introduction of Paris on this track is absoluely crucial.
His Italian disco influences broadly brush over the top of Mac’s jazz tendencies to create a continental-sounding fusion. Paris then punctuates this with his brooding, low-range voice that helps contextualise the vocal take of Mac. Arguably, without Paris, Mac’s performance would have been somewhat lost, but instead, it leans on the duality of their pairing and creates a truly endearing and well-executed duet.
‘Preoccupied’
Like a great big sigh of relief, this song relieved a bubble of tension that may have been surrounding Mac at this time. Bird calls echoed through the introduction, signalling the rising of the warm Californian sun he now resides in, and one not dampened by the foggy haze of hedonism. But more than that, it feels deeply intimate in terms of how Mac uses the guitar, he’s getting to know it in this new way and gently introducing himself as a real craft musician.
Listening to the lyrics as well, the music sounds like its antidote. It’s a breezy tonic that helps soften the very issues Mac mused on throughout the song. The consumption of negative thoughts, failing to be present and feeling socially isolated because of those feelings could easily become all-consuming. But the composition lightens it, and in essence, sets him free from the demons that inspired the track in the first place.
‘On The Square’
I know what you’re thinking. This album, again? But the fact is, Here Comes The Cowboy is an entirely underrated album. The entire record could have quite feasibly populated this list, but ‘On The Square’ really stands out for its representation of a departure for Mac. With the piano leading the chord progression, the drums seem to have an extra level of weight that steers Mac into the realms of a ballad for what feels like the first time.
And so it was important that the lyrics were just as good. For the first time, he feels borderline abstract, raising existential questions about a life lived conformed, his own place in that structure, and whether any satisfaction is found in any of it. The continued reference of “brother’s hands” feels increasingly poignant as the message descends down the piano, elevating Mac to more than just a gonzo songwriter. This is him at his observational best.
