Wendy’s releasing an emo EP is definitely the funniest thing that happened in 2026. Emo Wendy first appeared outside a London Location in 2022 and quickly became an icon. Now, Wendy’s has capitalized on that virality by releasing a legit emo EP. It’s not a quick throwaway jingle with a whiny singer and some punk guitars. It’s a 22-minute release from Rise Records, written by an experienced emo producer, featuring six full-time vocalists from Memphis Mayfire, Silverstein, Bless the Fall and others. I think a lot of people have gotten the impression that this EP is a cheap, throwaway gag made for some quick corporate promotion, but I’ve been genuinely impressed by the quality and commitment to the bit. While Wendy’s end goal is undoubtedly to advertise, and they’re not subtle with the lyrics, Songs to Listen to in a Wendy's Parking Lot is still an awesome tribute to Emo music that faithfully recreates its inspiration.
While the EP wasn’t written by the Emo artists that feature on them, Matt Squire, the producer who did, has years of experience in the scene. He’s worked on Panic! At the Disco’s double platinum record A Fever You Can’t Sweat Out, Saosin’s sophomore LP In Search of Solid Ground, and The Used’s fourth album, Artwork. He’s got a long, in-depth career that shows on an EP riddled with 5-7-8 riffs, acoustic dropouts, and theatrical lyrics. Squire’s emo prowess is displayed with vigor, and the instrumentals are perfectly complemented by singers who give their all-in high-pitched screams.
Stylistically, the EP ranges from Metalcore to Pop-Punk, with even a dash of Midwest emo. Understandably, it leans towards a mainstream 3rd Wave Emo sound best represented by bands like Brand New or Paramore, and avoids screamo motifs from bands like Chiodos, to my disappointment. But that’s not to say it doesn’t bring the heat, especially on songs like “My Frosty’s Funeral,” which sounds like a combination of Pierce the Veil and Bullet For My Valentine, throwing chugs, a breakdown, and more than a few screams right at us.
The lightest songs were my least favorite, mostly due to the focus on the admittedly corny lyrics, but they do a fantastic job covering the many bases of emo music. “It’s Not a Phase” prominently features the clean guitar tapping popularized by bands like American Football, highlighting Squire’s commitment to reach every corner of the genre. “I Miss the Sunroom” is a simpler acoustic ballad but captures the gist of the archetype just as well, a reminiscent lament set in a Wendy’s diner.
It’s the heavy songs that are my favorites on the EP though, especially “Salt in the Wound” which I think is the highlight of the whole release and the song that’s been on repeat for me. That intro riff alone would’ve made it a metalcore classic if it was dropped 20 years ago, and the chorus has been stuck in my head all week. But the clever lyrics “There’s no happy in your meal there anymore,” and “redheads treat you better,” are the reason this song makes me smile. An obvious ad it might be, but that doesn’t mean it’s not hilarious and witty. “She Said She Didn’t Want Fries” matches the energy too, a typical song about girl troubles, though it involves a comedic dining hall dispute.
It’s clear the whole time that this record is one long ad read, but honestly, I just don’t mind. It’s not an unskippable 30 seconds that’s playing before a video I want to watch, I’m actively choosing to search it up and listen to it. I can choose to absorb as much or as little of the pushy lyrics as I want, so the worst Wendy’s can really do to me is make me cringe. (Which it definitely does pretty often, I’ll say.) But other than that, I can’t be annoyed.
Not everyone appreciates a corporate Emo EP as much as me though. “Capitalizing off of a subgenre that’s so rooted in counter culture, like emo, just feels wrong.” says Max Barringer, a regular underground concertgoer. “It’s not done by the scene for the scene, it’s done by f*cking big ass labels.” He dislikes the idea of music being used as a form of advertisement, and points out that the entire EP is absolutely a means of convincing people to buy fries and a frosty. “I want to listen to music and support artists for making art, not for selling burgers.” Plus, it doesn’t help that he’s just not a fan of 3rd wave Emo.
Yeah, if you don’t want to listen to an advertisement, this EP is not for you. The commercial aspect is prominent throughout the music, and it’s incredibly noticeable when Beau Bokan screams “It’s the Best Combo Meal” on “The Best Combo Meal on the Worst Night of my Life.” At certain points, it really just feels like a quick jingle made for a 30 second advertisement, and those are definitely the most disappointing parts. This EP was undoubtedly made to sell burgers, and it’s very understandable why many don’t want that in their music.
But, while this record definitely certainly is an advertisement, Songs to Listen to in a Wendy’s Parking lot is a high quality one, and a great collection of music that stands out among the millions of generic, sloppy ads made for the broadest possible demographic. The release is high effort and feels like a special nod to a small group of people, which I really appreciate in our current world of bloated, intrusive commercials. Does that mean I’m swallowing the corporate Kool-aid? Probably, because I did indeed go to Wendy’s shortly after listening. But the fact that it’s an advertisement doesn’t stop me from humming the parts, laughing at the lyrics, and even learning some of the guitar parts. I had a really fun time with this EP, and I think if I have to be advertised to, I want it to be done like this.
Best Songs: Salt in the Wound, She Said She Didn’t Want Fries
Rating: 7.5/10