Over the past fifteen years, Wolf Alice have evolved from a modest acoustic duo in North London into one of the UK’s—and, by many measures, the world’s—most vital and celebrated bands. Their 2017 debut, My Love Is Cool, earned a Grammy nod; Visions of a Life won the Mercury Prize in 2018; and Blue Weekend brought them a BRIT Award in 2021. Each record showcased not only impressive musicianship but also an uncanny knack for capturing the mood of a generation. With The Clearing—their first release on a major label—the quartet pushed even further. Written largely at the piano in a Seven Sisters house and polished in Los Angeles by Greg Kurstin (Adele, Paul McCartney, Foo Fighters, Beck), the album retains Wolf Alice’s raw energy while embracing the warmth, melodic sweep and widescreen textures of ’70s–inspired pop and rock. You can hear echoes of Fleetwood Mac’s lush harmonies, Pentangle’s folk-jazz interplay, Steely Dan’s studio precision and The Beatles’ endless inventiveness, all filtered through the band’s signature grit and candid lyrics. Rather than reinvent themselves for its own sake, Wolf Alice deliver with The Clearing a bold, confident, and unmistakably accessible statement—proof that they’re still a band on the move, eager to exceed expectations and shape modern rock’s future.
“Thorns” and “Bloom Baby Bloom” form a compelling preface to this new chapter. “Thorns,” born during the Blue Weekend sessions, starts as a spare, piano-led ballad whose quiet melancholy is sharpened by Ellie Rowsell’s frank storytelling—“I must be a narcissist / God knows I can’t resist”—then gradually swells with subtle strings and measured drums into a cinematic panorama. By contrast, “Bloom Baby Bloom” is an ambitious pop-rock declaration built for wide appeal yet brimming with theatrical flair: heavy, Axl Rose–inspired riffs meet Rowsell’s liberated vocals, punctuated by driving percussion and interlocking guitar lines. Together, the tracks pay homage to Wolf Alice’s past triumphs while announcing their readiness to explore uncharted creative terrain.
The Clearing unfolds over ten tracks that balance polished pop immediacy with daring experimentation, offering both instant hooks and hidden twists.
The album continues with “Just Two Girls,” a sparkling, piano-driven romp that turns a moment of rivalry into a sunlit celebration of camaraderie. Next comes “Leaning Against the Wall,” where an intimate acoustic intro dissolves into dream-pop clouds laced with experimental vocal samples and a raw, unhinged drum finish. “Passenger Seat” keeps the momentum with a jaunty, off-kilter strum that tips its hat to contemporaries like Charli XCX and Beyoncé, while showcasing Rowsell’s growing confidence at center stage. On “Play It Out,” she delivers a quietly fierce anthem of self-determination that confronts expectations without losing composure. Finally, “Bread Butter Tea Sugar” closes the album on a note of joyful nostalgia: a Beatles-style piano motif blooms into an ELO-worthy string finale and a gutsy, classic-rock guitar solo, underscoring the band’s fearless willingness to roam.
In The Clearing, Wolf Alice present their most cohesive, assured statement yet—effortlessly outpacing the milestones of My Love Is Cool, Visions of a Life and Blue Weekend. Trading youthful turbulence for a lighter, more expansive sonic palette, they embrace themes of renewal and self-possession without sacrificing edge. Thanks to crisp, dynamic production—and the seamless interplay of Ellie Rowsell with Joff Oddie, Theo Ellis and Joel Amey—every detail shines, from intricate guitar motifs to sweeping synth layers. This is Wolf Alice at creative maturity, proving that growth needn’t mean playing it safe, and that true resonance comes from fearless evolution.
Review by Karen Edmond
