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“ACT III” — the ninth studio album by British band Kasabian, released on September 4, 2026, via Columbia Records. The record consists of 13 tracks, 10 of which are full-length songs, while three are short interludes. The album is the band’s third studio release following the departure of original vocalist Tom Meighan and effectively continues Kasabian’s new chapter under the leadership of Serge Pizzorno.

The title “ACT III” is symbolic: following a difficult period involving lineup changes and a rethinking of their identity, Kasabian see the new album as another “ACT” in the band’s history. Pizzorno does not hide the fact that the past few years have been difficult, but the record is not conceived as nostalgia for the past. Instead, it combines the best qualities of different eras of Kasabian while looking toward the future.

A Return to Guitars

One of the main characteristics of “ACT III” is the noticeable return of guitars to the center of the sound. After the more electronic experiments of recent years, Pizzorno deliberately wanted to fall in love with guitar music again.

According to him, the album is «rooted in guitars», but that does not mean a return to a specific old Kasabian style. Instead, the new songs combine guitars with synthesizers, electronic rhythms, psychedelic rock, disco, and dance elements.

Pizzorno himself describes “ACT III” as a kind of concentration of everything Kasabian have done throughout their career: old Kasabian DNA + new ideas.

How the Album Was Made

“ACT III” was recorded at The Sergery and Club Ralph, with Serge Pizzorno and Mark Ralph serving as producers. The official description emphasizes the combination of guitar-driven psychedelic pop with Pizzorno’s distinctive raspy vocals, big hooks, and swagger.

Interestingly, Pizzorno approached the writing process quite spontaneously. For example, “Great Pretender” came together in literally 10 minutes one morning when he started working with a guitar.

The creative process was also influenced by film, storytelling, and music from different generations. Among the influences mentioned by Pizzorno are David Byrne and Kendrick Lamar, while some of the songs deliberately draw on Kasabian’s psychedelic and electronic past.

Another important detail is the album’s live-oriented character. After many years of performing, Kasabian have a good understanding of which songs work in front of a large festival audience. As a result, some of the material was created with communal singing, dancing, and highly energetic live performances in mind.

Track-by-Track Overview

• “SOULMATE” — one of the album’s most interesting tracks, with a dark, almost surreal atmosphere. The song combines massive bass, guitar-driven sound, and electronic elements. In terms of atmosphere, it recalls early Kasabian, particularly their self-titled 2004 debut. One of the most characteristic moments is the line “One nation under one retail park”, demonstrating Pizzorno’s trademark combination of absurdity, irony, and social observation.
• “Hippie Sunshine” — the first single, released back in September 2025, and effectively the first demonstration of the new direction of “ACT III”. It is psychedelic guitar rock with a large dose of summer euphoria, but a somewhat darker mood hides beneath its carefree surface. Critics have pointed to its affinity with Black Rebel Motorcycle Club and its ability to be both gloomy and danceable at the same time.
• “SUPERPOWERS” — one of the album’s most unusual compositions. Kasabian combine guitar rock with electronic production, R&B influences, and a huge chorus. Pizzorno described the track as an example of how the band can move away from traditional indie rock without losing its identity.
• “GREAT PRETENDER” — one of the central tracks on “ACT III” and the second single. The song deals with imposter syndrome — the feeling that you are not good enough and that sooner or later everyone will notice. For Pizzorno, the subject is particularly relevant because of his transition from guitarist and songwriter to Kasabian’s frontman. At the same time, he sees imposter syndrome not only as a weakness but as a sign that a person is on the verge of something important.
• “NOTHING BETTER THAN THIS” — one of the album’s most direct and live-oriented tracks. The song combines punk-rock energy with electronic production and a highly distinctive bass riff. Pizzorno specifically wanted listeners to hear a few seconds and immediately think: “that’s Kasabian.”
• “mind palace 2m7” — a short interlude that works as an atmospheric pause between the first and second parts of the album. It is not a full-length song, but it helps connect the record’s different musical moods.
• “SILVER APPLE EYES” — one of the album’s most psychedelic and melodic tracks. The composition features a disco/funk groove, acoustic guitars, and electronic textures. The title is a kind of tribute to Silver Apples, one of Pizzorno’s favorite bands. Some listeners consider it one of the album’s best tracks precisely because of its softer and more atmospheric sound.
• “THE GURU AND THE CRYPTO TIME MACHINE” — the album’s most cinematic track. Kasabian have long used imagery reminiscent of a soundtrack to a fictional movie, and this characteristic is particularly strong here. The composition combines psychedelic rock, electronic elements, and a sense of surreal adventure.
• “npc 3m12” — another longer composition that contrasts with the short interludes. It continues the album’s electronic-psychedelic direction and works as a kind of bridge between its more experimental and straightforward songs.
• “GLIDE” — a smoother and more melodic track. Here Kasabian move away from their big festival-rock sound in favor of atmosphere and groove. The song demonstrates particularly well that “ACT III” does not try to be loud all the time.
• “HYPER//RISING” — one of the album’s most energetic tracks. Its guitar attack and tempo are reminiscent of Wolfmother, although Kasabian retain their own electronic component. This track is often regarded as one of the highlights of the second half of the record.
• “SAY YOU (CLOSER)” — the closing track, which moves away from the usual festival drive and brings the album to a calmer and more optimistic conclusion. It can be viewed as a kind of epilogue to “ACT III” — after the chaotic journey, the band leaves the listener with a sense of hope and forward movement.

What “ACT III” Means for Kasabian

The album has particular significance because of the period following Tom Meighan’s departure. Pizzorno was effectively forced to transform from the band’s main songwriter and guitarist into its central vocalist and frontman.

As a result, the theme of imposter syndrome, which runs through “Great Pretender”, has an autobiographical undertone. Pizzorno talks about the doubts that have accompanied him throughout his career, but those doubts have now become part of the creative process.

In this sense, “ACT III” can be viewed as an album of self-affirmation. Kasabian are no longer trying to prove that they can exist without their former vocalist — they are simply showing what they have become.

Critical and Listener Reception

The response to “ACT III” is noticeably mixed, although the overall tone is more positive than negative.

Some critics have seen the album as a return to form for Kasabian. Musikexpress considers it more convincing than “Happenings“, highlighting its dirtier sound, strong bass, and return to guitars. (Musikexpress)

Billboard Italia sees the record as an important stage in the band’s revival after the difficult years. The reviewer is particularly positive about “Great Pretender” as a kind of symbol of the new Kasabian. (Billboard Italia)

La Face B particularly praises “Nothing Better Than This” and “Hyper//Rising”, while also highlighting Kasabian’s ability to combine psychedelic rock, electronic music, and dance energy without losing their overall coherence. (La Face B)

At the same time, there is also criticism. VISIONS gave the album 6/12, noting that some sonic techniques — phaser, telephone-style vocal effects, and heavily processed sound — can feel somewhat dated. (VISIONS)

Some reviewers also feel that Kasabian occasionally overload short compositions with too many ideas. This is particularly noticeable when the band attempts to combine rock, disco, electronic music, and psychedelic sound simultaneously.

Among listeners, “Hippie Sunshine”, “Nothing Better Than This”, “Hyper//Rising”, “Silver Apple Eyes”, and “Great Pretender” have received some of the most positive reactions. At the same time, “Great Pretender” and “Nothing Better Than This” have also received a fair number of more restrained responses from listeners who find the new material too heavily geared toward festival audiences.

What Works

• the return of more prominent guitars;
• the signature Kasabian groove;
• the combination of rock and electronic rock;
• big festival-ready choruses;
• “Nothing Better Than This” and “Hyper//Rising” as the most energetic tracks;
• the psychedelic “Silver Apple Eyes”;
• Serge Pizzorno’s more confident role as frontman;
• a sense of a new chapter rather than an attempt to simply recreate the past.

What May Not Work

• some tracks may feel too heavily designed for a live/festival format;
• some production techniques sound somewhat retro or even dated;
• not all of the experiments are equally successful;
• some songs are overloaded with ideas;
• listeners expecting 2004-era Kasabian may find the album insufficiently dirty and raw.

Overall Verdict

“ACT III” is not an attempt to take Kasabian back to 2004. Rather, it is Serge Pizzorno’s attempt to bring together the best elements of the band’s entire history into one new version of Kasabian.

There are psychedelic guitars, electronic rock, disco, indie, dance rhythms, and huge festival-ready choruses. The album works best when these elements do not compete with each other but instead create the distinctive Kasabian swagger.

What is particularly important is that after a difficult period, the band sounds confident and alive. “ACT III” does not hide from the past, but it also refuses to let the past define the future. It is a kind of statement: Kasabian continue to exist, but this is now a different version of the band.

Who might enjoy it: fans of Kasabian, Primal Scream, Oasis, The Stone Roses, Black Rebel Motorcycle Club, Gorillaz, The Chemical Brothers, and British indie/electronic rock. The album should particularly appeal to listeners who enjoy guitar music with a danceable groove, psychedelia, electronic elements, and a big festival sound.