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Robyn Hitchcock Releases New Memoir "Stranded In The Future" - A Look Back at 1970s London
On July 7, 2026, the idiosyncratic voice of English singer‑songwriter Robyn Hitchcock returned to the page with a new memoir, Stranded In The Future. The book follows his 2024 autobiographical work 1967: How I Got There and Why I Never Left and zooms in on the decade that shaped his career.
Stranded In The Future is billed as a “dystopian self‑portrait” that spans 1968‑1978. Hitchcock turns the lens on the mythology teenagers of that era built around their musical heroes and first loves. The narrative centers on a single, unnamed hero—someone who, according to the book, never actually met the singer—and a teenage girlfriend, also unnamed. The two figures are woven together in the memoir’s chapters, illustrating how imagination can bridge gaps in memory.
The book traces the gradual rise of the 1970s as Hitchcock began performing live, taught himself to write songs, and ultimately formed the Soft Boys. The Cambridge‑based group, formed in 1976, released two albums before disbanding in 1981. Their final studio effort, Underwater Moonlight, appeared in June 1980 and has since been cited as an influence on bands such as R.E.M.
Hitchcock’s early life and musical influences are laid out in detail. Born in London in 1953, he was immersed in the English folk revival and the psychedelic scene of the late 1960s. Critics have compared his songwriting to Bob Dylan and to the surrealist tradition of Dalí and de Chirico. The memoir shows how those influences blended with the punk and new‑wave movements that surged in the late 1970s and early 1980s.
The release has drawn attention from reviewers. A Kirkus Reviews critique describes the memoir as “sharp, charming and often beautifully written,” noting that it feels as eccentric and distinctive as Hitchcock’s music. A separate review on God’s in the TV Zone calls the book a “self‑aware follow‑up” to 1967, praising its “sharp, charming” style.
Published by Hachette UK, Stranded In The Future is available in hardcover and e‑book formats. It joins a growing wave of musicians releasing autobiographical works that illuminate the cultural and musical landscapes of the 1960s and 1970s. Hitchcock’s account adds to a catalog of first‑hand narratives from artists who were active during the formative years of alternative and indie rock.
Beyond memoirs, Hitchcock has kept a steady output of recordings and touring. His solo career, launched in the mid‑1980s after the Soft Boys dissolved, has produced a series of albums that blend acoustic and electric textures. He has also collaborated with other musicians, including Peter Buck of R.E.M. and members of the Venus 3.
The memoir’s timing coincides with a renewed interest in the Soft Boys’ catalog, which has been reissued in recent years. For scholars of 1970s British rock and fans of Hitchcock’s work, Stranded In The Future offers a detailed, introspective look at a decade that defined a generation of musicians and listeners.
The book is now available through major book retailers and online platforms, giving readers a chance to step into Hitchcock’s memories of a transformative era.
Stranded In The Future is billed as a “dystopian self‑portrait” that spans 1968‑1978. Hitchcock turns the lens on the mythology teenagers of that era built around their musical heroes and first loves. The narrative centers on a single, unnamed hero—someone who, according to the book, never actually met the singer—and a teenage girlfriend, also unnamed. The two figures are woven together in the memoir’s chapters, illustrating how imagination can bridge gaps in memory.
The book traces the gradual rise of the 1970s as Hitchcock began performing live, taught himself to write songs, and ultimately formed the Soft Boys. The Cambridge‑based group, formed in 1976, released two albums before disbanding in 1981. Their final studio effort, Underwater Moonlight, appeared in June 1980 and has since been cited as an influence on bands such as R.E.M.
Hitchcock’s early life and musical influences are laid out in detail. Born in London in 1953, he was immersed in the English folk revival and the psychedelic scene of the late 1960s. Critics have compared his songwriting to Bob Dylan and to the surrealist tradition of Dalí and de Chirico. The memoir shows how those influences blended with the punk and new‑wave movements that surged in the late 1970s and early 1980s.
The release has drawn attention from reviewers. A Kirkus Reviews critique describes the memoir as “sharp, charming and often beautifully written,” noting that it feels as eccentric and distinctive as Hitchcock’s music. A separate review on God’s in the TV Zone calls the book a “self‑aware follow‑up” to 1967, praising its “sharp, charming” style.
Published by Hachette UK, Stranded In The Future is available in hardcover and e‑book formats. It joins a growing wave of musicians releasing autobiographical works that illuminate the cultural and musical landscapes of the 1960s and 1970s. Hitchcock’s account adds to a catalog of first‑hand narratives from artists who were active during the formative years of alternative and indie rock.
Beyond memoirs, Hitchcock has kept a steady output of recordings and touring. His solo career, launched in the mid‑1980s after the Soft Boys dissolved, has produced a series of albums that blend acoustic and electric textures. He has also collaborated with other musicians, including Peter Buck of R.E.M. and members of the Venus 3.
The memoir’s timing coincides with a renewed interest in the Soft Boys’ catalog, which has been reissued in recent years. For scholars of 1970s British rock and fans of Hitchcock’s work, Stranded In The Future offers a detailed, introspective look at a decade that defined a generation of musicians and listeners.
The book is now available through major book retailers and online platforms, giving readers a chance to step into Hitchcock’s memories of a transformative era.