One of Britain’s finest four return with a confident new chapter, as they find comfort in unexplored music territory.
Ever since 2015’s debut, My Love is Cool, it was clear that Wolf Alice would be set on an upward path, quickly establishing themselves as one of the UK’s most exciting rock acts. Their momentum carried into 2017’s Visions of Life and the divine Blue Weekend in 2021, a record that cemented both their artistry and adoration. Introduced by expansive, cinematic strings, their fourth album, The Clearing, proves that the turbulence of the past has given way to a new sense of freedom and clarity, one that flows effortlessly through this new material. Musically, it builds upon all that the group have achieved so far.
Opening with Thorns, a track driven by a commanding string arrangement paired alongside Ellie Rowsell’s unmistakable, soaring vocals, the stage is set for The Clearing. The lead single Bloom Baby Bloom follows, blending the band’s trademark bite with a jaunty piano line that injects a crisp, 70s-inspired twist into the record. Rowsell’s vocals are utterly magnetic here, propelling the song through moments that surge towards chaos before easing into a sudden calm; her chorus “But I’ll bloom baby bloom” appears to release a wave of relief into the otherwise bombastic number. The same balance carries into Just Two Girls, a luminous track lifted by more playful piano lines and a carefree spirit, embodying the sense of freedom and exploration that runs through the album.
The Clearing keeps pushing boundaries with Leaning Against the Wall, a track that pairs a brisk, acoustic guitar with a dreamy, almost celestial chorus, evoking the sensation of an escape, whether to the countryside or somewhere more imagined. The same atmosphere carries into Passenger Seat, a timeless moment where the band taps into a Fleetwood Mac-inspired vein of heartland rock; the sort that can soundtrack a long journey.
The record slows in pace with Play It Out and Midnight Song. The latter leans fully into the album’s grand undercurrent, as Rowsell’s delicate refrain “Go on, go on, go on, play for me” floats above a dreamy soundscape that swells with emotion. Two tracks earlier, Play It Out, offers another gentle moment, its steady piano line unfolding with a certain sweetness, the kind of melody that lingers and hums in the back of your mind. These tunes serve as proof that the four-piece remain true to their musical DNA, even as they allow it the freedom to evolve. Another highlight is Bread Butter Tea Sugar, which revisits the contrasting playful, jaunty flair first heard earlier in the record. Driven by a theatrical strut that practically demands a foot tap, it’s an ostentatious burst of energy that elevates the album and captures Wolf Alice at their most experimental. Listen closely, and you might even catch a trace of Queen woven into its swagger.
Following the easy, understated strings of Safe in the World, the record begins to close with two of its strongest songs. White Horses opens with the memorable line “Music and love have magnetic properties,” a phrase that lingers long after the track ends. It’s the closest Wolf Alice gets to their indie-rock origins, with drummer Joel Amey stepping forward on lead vocals for the first time in years, later joining Rowsell in a striking duet. Subtly powerful, the song balances dreamy textures with a propulsive synth that carries it forward, much like the album as a whole. The Clearing bows out with The Sofa, a tender, piano-led ballad that nods to the band’s North London roots. A mediation on softening the critical voice we turn on ourselves, it finds Rowsell gently asking for compassion, for both her and the listener. With layered vocal harmonies and sweeping strings, it’s a blissful, fitting end to the record.
The Clearing sees Wolf Alice, one of the UK’s finest musical exports, settling into new territory and sounding more assured than ever. Experimental yet ethereal, and rich with irresistible vocal moments, the band has once again raised the bar for themselves. It stands as one of 2025’s most infectious and memorable releases.
