Sex Pistols Chart a New Course: Writing Fresh Material With Frank Carter

The narrative of the Sex Pistols is entering a new chapter. The band, whose original burst of energy in the mid-1970s helped define British punk, are now signalling an intention to explore writing new music, this time collaborating with Frank Carter as vocalist. According to recent accounts, bassist Glen Matlock has confirmed that discussions with guitarist Steve Jones and drummer Paul Cook have generated ideas for fresh material with Carter involved.

For context, the Sex Pistols emerged in London in 1975 and, despite a lifespan of only around three years in their original incarnation, became widely regarded as the progenitors of the UK punk movement. Their 1977 studio album, Never Mind the Bollocks, Here’s the Sex Pistols, stands as a landmark, while singles like “God Save the Queen,” “Pretty Vacant,” and “Anarchy in the U.K.” remain iconic. Chart data records their single “God Save the Queen” as peaking at No. 2 in the UK in mid-1977.

Their influence on culture, fashion, attitude, and subsequent generations of musicians is enormous, which makes this potential new phase particularly significant. The band’s return to active status in 2024 with Frank Carter at the helm of vocal duties followed live dates that garnered strong response. Observers from recent live shows noted that with Carter leading the charge, the remaining original instrumental trio exhibited renewed energy.

Frank Carter (Image source: Instagram)

The decision to explore new music is not just about nostalgia or revisiting their past: Matlock has emphasised that the band are conscious of whether the public genuinely wants fresh material from them, and are assessing how to frame any new work in the present-day climate. In essence, the Sex Pistols are weighing legacy and relevance, balancing their status as pioneers with the creative possibilities of the present.

Frank Carter’s involvement injects a fresh dimension. Carter, born in 1984, is known for his work with hardcore outfit Gallows, rock project Pure Love, and his own band Frank Carter & the Rattlesnakes. His reputation for high-intensity live performance and outspoken personality gives this new collaboration a sense of creative possibility: a veteran band choosing a vocalist from a younger generation still actively making waves, rather than simply resting on laurels.

The context of the move is also worth noting: the Sex Pistols had not released a studio album since their early years (their only full studio album remains the 1977 record). Their current line-up — Jones, Cook, Matlock, and Carter — are on the road with a tour of North America in 2025 (their first American tour since 2003) which both re-establishes the band’s live presence and perhaps lays the groundwork for studio efforts.

Industry observers will likely watch closely whether the group commit to recording and releasing new songs, and how those songs will relate to the band’s legacy. Will the music reflect the raw, confrontational edge of early punk? Or will it adapt to contemporary contexts while retaining political or cultural bite? Matlock’s comment about “ideas” and “whether people want us to release something” suggests that the band is considering not just music, but its meaning and timing.

From an analytical perspective, this move opens several possibilities. For one, if new music arrives, it could recalibrate how the Sex Pistols are positioned: not simply as a historical artifact but as an active creative force. Second, by choosing Carter, the band signal an openness to evolution rather than simply repeating formulas. Third, as other legacy acts have discovered, successfully releasing new material can help re-energise their catalog, live performance demand, and cultural relevance — but only if the music feels legitimate and not forced.

However, there are inherent challenges. The Sex Pistols’ reputation is deeply tied to the original lineup including vocalist John Lydon (formerly “Johnny Rotten”). Any deviation from that era invites comparison and critique. Moreover, punks and purists may question whether the same spirit can be captured after decades, and with the membership changes. The fact that Matlock openly raised the question of “does the public really want us to release new music?” underscores that the band are fully aware of this.

In summary, the news that the Sex Pistols are exploring fresh music with Frank Carter is more than a footnote: it may represent a strategic turning point for one of punk’s most influential bands. If realised, a new body of work would signal that the band sees itself as more than legacy artists, willing to step into a new creative phase. For fans, critics, and the wider music industry, the implications of such a move are compelling: a seminal act re-engaging with creation, generation, and relevance. Whether the ideas coalesce into actual recordings remains to be seen — but already the possibility is shaking the punk world.