Tuggawar and The Warr – “Thirteen” album review

Number thirteen for centuries has been considered to be an unlucky number. You know, Friday the 13^th, Judas being called the 13^th Apostle, Loki being the 13^th guest at Asgaard dinner party and so on. However, despite its vile PR, number 13 may actually be a winning number for some. That lucky fella is called Tuggawar and he just released a small masterpiece called, nomen omen, “Thirteen”. You are getting exactly what is says on the tin – thirteen songs mixing dancedall, alternative rock, reggaeton, pop and hip hop with some witty and at times peppery social commentary. Seriously, a crazy ride for a truly crazy A.D. 2026.

“Thirteen” album cover, picture by Rhian Croney

Official bio: Tuggawar (born Neofytos Neofytou) is a London-born international reggaeton, dancehall, and hip-hop artist of Greek and Irish descent. Raised in the multicultural and vibrant immigrant community of Hackney in East London, Tuggawar has been making music with great success for the last two decades. Known for his hard-hitting lyrical clashes and energetic stage presence earning him the moniker “War Gaad,” he runs his own independent label, Tugg Movements. On August 13^th 2026, he released his debut album with his band, The WARR composed of veterans of the London independent music scene: Gemma (Adam Ant, Babyshambles, JW Paris), Jerome (Automata, Black Bordello), Aaron (Sabatta, Deadcuts) and Dean (Seven Days and Doesn’t Die, The Professionals).

Let me tell you, “Thirteen” is not something that they would like at The Guardian. Or at any of the mainstream publications like the Clash, NME, DIY, The Consequence of Sound or any others. For many of our readers this is actually going to be the biggest form of recommendation. Whatever they write about and praise today, a few years down the line, is going to be a laughing stock. Remember all those Black Country New Road/Black Midi-esque bands that were supposed to be the saviours of British music? Last week, one journalist singing their praises before the pandemic openly admitted that their articles were actually written as favours to record labels – here you have it, the state of music journalism these days. It is worth adding that by accident, I saw BCNW in The Netherlands in 2018 – one of the worst gigs I witnessed. My sentiment was widely shared by fellow gig goers who booed them to oblivion and threw shoes at the stage. Just saying.

Lucky for us, Vanadian Avenue is not tied to any label, management company or private equity – we can write about whatever we want and we proudly do it for free. And while The Guardian and others spew out client journalism articles dozens a day each, we will pen a few words about a project that is good, has a strong street creed and offers real emotions instead of corporate approved slop.

Our blog specializes in alternative music: mostly rock, metal and everything else that’s avant garde or experimental. I don’t think we had ever covered reggaeton and hip hop but it’s always good to widen one’s horizons. Tuggawar may not be everyone’s cup of tea, but at least, he has been true to what he likes and he is bloody good at making it. What’s most important for us, on “Thirteen”, he is backed up by musicians with decades of experience in creating some of the best independent rock, post punk, and indie music. The Warr, Tuggawar’s backing band is what makes “Thirteen” a freaking great album. Tugga’s distinctive voice, his chants, speedy delivery plus The Warr’s collective awesome delivery is a thing of rare musical beauty.

“Thirteen” gives us exactly thirteen compositions and 45 minutes of music. The album is divided into side A (tracks 1 to 7) and side B (tracks 8 to 13). Side A includes: “Loud”, “Why You Wanna Hate Me”, leading single and video “Diddy Dem”, “Hammerhead”, “Fk Up Da Venue”, “Cameltoes and Haribos” and “Go Get Them”. Side B includes “Hands Up”, “My Life”, “Shut Up”, “Climb Up”, “Rock N Roll’d”and “Wavey”. The album was recorded at Foel Studios in Wales, just outside the lovely market town of Llanfair Caereinion (don’t ask me how to pronounce it) that’s apparently built on top of Roman Fort. We were told it is haunted, a great place to visit if you want to get a fright. It was produced by Alan Scars of The Warr, with extra production from Foel studio’s owner, Michel Bew (engineer/mixing), and Wayne Marshall (mastering). Tuggawar has a special producer credit and the whole thing is being released on his independent label, Tugg Movement.

Back of the album, picture by Rhian Croney

“Thirteen” is an absolute melting pot of styles and genres. The opening number “Loud” introduces beats influenced by 1990’s American hip hop/West Coast gangsta rap with half funny/half explicit grime lyrics. “Why You Wanna Hate Me” has Spanish rhythm, trumpets and Carlos Santana-like guitars circa “Supernatural”. “Diddy Dem” hits hard with hardcore guitar riffs, dizzy atmosphere and eerie, slowed down trapwave flow. Other stand out tracks include my absolute favourite “Fk Up Da Venue”, a sleazy indie pop extravaganza, “Rock N Roll’d” (no surprise here – classic alternative rock ) and “My Life” (top 40 British pop). Two other songs deserving a special mention are: the groovy and slow “Climb Up” – the reggaeton equivalent of a rock ballad and the closing number “Wavey” for its rhythmic and slightly psychedelic vibe, a perfect chill out ending to a rather angry record.

One thing I disliked about the “Thirteen” is its explicit language. I’m not a prude and I do enjoy a dirrty hip hop track, but I have to say, after 13 tracks filled by what my classics professors used to describe as a “kitchen latin”, it got a bit too much. The lyrics are witty and smart, funny at times and what I find rare – written from a real perspective of young men coming from urban areas, yet the amount of profanities has a numbing effect on listeners. It stops shocking and frankly, becomes a bit of a bore. Maybe this is the intended effect? In many subcultures, the way people speak can be seen as a proof of a status. Group leaders often use the most appealing, foulest manner of communication to present themselves as bravest, most authentic or simply to belong. Yet, behind the bravado, curses and sometimes sexist flair may hide a vulnerable person that doesn’t know any other way to survive. If that’s Tuggawar’s intent, then more kudos to him. Beside this minor grumble, “Thirteen” is a solid album that’s varied, interesting and very well produced.

If you want to hear the album live on stage, Tuggawar and The Warr will be going on tour. First concert is in London, at the Stag’s Head in Hoxton on September the 4th. You can buy tickets at:
https://www.eventbrite.co.uk/e/tuggawar-the-warr-tickets-1991042975136

That’s 4.5 stars out of 5 on our humble scale.