20/20 - The End Of The Summer

Power pop legends 20/20 are literally going BACK TO CALIFORNIA to hit the live stage in Los Angeles in support of their acclaimed new album by that title this April. And to celebrate, SPYDERPOP RECORDS is bringing you a new single from the record: “The End Of The Summer”. The latest from the album, released in January on Vinyl, CD and Streaming, it follows the indie hits “King Of The Whole Wide Word”, “Laurel Canyon” and the title track, all widely heard on worldwide radio and featured on charts across the globe. Timed to hit just one day before the band's triumphant return to LA for a much-anticipated gig at Zebulon, “The End Of Summer” is out April 11 and is up for pre-order.

The new album BACK TO CALIFORNIA has returned 20/20 to the power pop throne they originally claimed with their classic self-titled 1979 debut. Hailed as “one of the first great albums of 2025” (Rock 'N' Roll Truth), “a great record splitting the difference between Byrdsy jingle-jangle and fizzy Power Pop” (Coachella Valley Weekly) and “modern power pop bliss” (Goldmine Magazine), it's been perhaps most resoundingly celebrated by Jordan Oakes (of the genre-defining Yellow Pills, named for one of the band's early classic songs): “These new songs have staying power, much like the band itself.” The singles from BACK TO CALIFORNIA have likewise become the kind of radio hits that 20/20 has always deserved, entering rotation on terrestrial and online stations in the US, UK, Italy, Australia and Ukraine, and racking up Top 10 indie chart showings from New Jersey to California and overseas as well. The band is most certainly “back”, and with the LA gig on the calendar for April 12, the day after the new single's release, the comeback album's title feels completely prophetic.

Opening with ringing overdriven chords reminiscent of Crazy Horse before taking on a classic, jangling folk-rock approach, the song features a plaintive melody and lyrics expressing the melancholy and loss of the changing of the seasons... but there's more to it than that. The band's Ron Flynt explains the song's genesis, both musically and lyrically: “I was listening to The Byrds and playing an acoustic guitar with a capo on the 5th fret. It sounded like a bit like a mandolin, and that’s where the lick came from. I tried to do an Entwistle type bass solo in the bridge with round wounds on a Jack Cassidy Epiphone bass. Steve’s guitars and Ray’s Keith Moon drums give the song a cool mod vibe. The lyric wasn’t as obvious before the election,” he continues. “It’s pretty obvious now.”