Review: Highwind 's latest single “Payphone”

by Scott Roos

Our Grade: B+

Following the success of their 2024 single “Barren Walls”—which held steady on Billboard’s Canadian Rock charts - Highwind returns with “Payphone”, released August 22, 2025. It’s a track that blends nostalgic alt-rock with a modern indie-punk edge, continuing the band’s evolution from their early DIY roots into something far more refined.

Formed by Chase Rysavy (vocals/guitar), Eric Taylor (bass), and Troy Waggoner (drums) during their university years, Highwind first made waves with their self-released albums We’re All Alone (2014) and Cellar Door (2016), the latter of which earned a spot on Sask Music’s Best Albums of the Year. After a brief hiatus, the band regrouped in 2022 with the addition of Toronto-based guitarist Ehren Pfeifer, releasing the final words EP in 2023 and catching the attention of publicist Eric Alper. With “Payphone”, they continue that upward trajectory.

The track opens with a clean, arpeggiated guitar that sets a pensive tone, before building into a heavy, power chord-driven chorus that lands squarely in the realm of pop punk and alt-rock. Structurally, the song follows a classic soft-loud-soft format - reminiscent of ‘90s grunge - but with a melodic sensibility that gives it broader appeal. There’s a rawness in the dynamic shifts, and the song benefits from an emotionally charged performance.

Rysavy’s lead vocals are front and center - reflective, urgent, and cathartic - albeit perhaps a touch overly dramatic at times. The backing vocals and subtle counter melodies are also a standout, giving the song additional lift and texture. These moments help elevate the chorus into a shout-along anthem, tailor-made for sweaty basement shows or long solo drives. There’s also a familiar Canadian indie flavor here, blending the grit of early punk influences with the emotional honesty often found in bands like Thrush Hermit and Rusty or the quirkiness of The Super Friendz or Pluto.

However, not everything lands perfectly. A sudden use of double kick in the drums near the end feels like a stylistic mismatch, and the overall mix - specifically the hard-panned sound in the guitars drums and bass - can be distracting when listening on headphones. That said, the track shines when played loud. It’s clearly made to fill a room (or a car), not just earbuds.

Despite those quirks, “Payphone” is a strong, well-written single that shows how far Highwind has come - and hints at what’s next. It’s easy to imagine this track finding a home on modern rock playlists or even slotted alongside Canadian classics on a Big Shiny Tunes-style compilation.

With more music on the horizon for 2025, Highwind - now working steadily as a four-piece with Rysavy, Taylor, Waggoner, and Pfeifer - seem to be finding their footing. “Payphone” shows a band that’s reconnecting with their sound and slowly building toward something new.