Wolf Alice is one of those rare bands that never feel comfortable standing still. Each of their four studio albums explores a different corner of their sound, drifting between alt-rock, folk, grunge, shoegaze, and dream pop without losing their identity.
The Clearing arrived in 2025 as both a continuation of that restless evolution and their first major-label release following their departure from Dirty Hit.
Quick Pulse
- Label: RCA and Columbia Records
- Released: August 22, 2025
- Genre: Indie Rock, Alternative Pop
- Website: https://www.wolfalice.co.uk
The Clearing: Wolf Alice’s Evolution Continues
True to form, Wolf Alice is constantly evolving. While their early records featured raw indie-rock, they moved into expansive landscapes with the release of their 3rd album, Blue Weekend, and have continued that here on The Clearing. The album debuted at №1 on the UK Albums Chart, demonstrating the momentum they had coming out of Blue Weekend.
One constant in Wolf Alice is the sheer talent across the band.
- Ellie Rowsell — lead vocals, rhythm guitar, keyboards, synthesizers, piano
- Ellie Rowsell — lead vocals, rhythm guitar, keyboards, synthesizers, piano
- Joff Oddie — lead guitar, violin, synthesizers, backing vocals
- Joel Amey — drums, percussion, synthesizers, backing vocals
- Theo Ellis — bass, synthesizers, backing vocals
Every member of Wolf Alice plays a crucial role in shaping the band’s sound, but front-woman Ellie Rowsell naturally commands the spotlight. Her soprano voice is ethereal, capable of shifting effortlessly from power to fragility. Whether she’s pushing her range or pulling back into something light and airy, Rowsell’s vocals feel instinctive rather than showy. That ability is on full display throughout The Clearing, where her voice often becomes the emotional center of the album.
The Clearing makes a strong first and last impression with Thorns and The Sofa. They stand out not because the tracks in between fall short, but because they anchor the album’s emotional arc. The songs that fill the space between them add texture and momentum, giving the record room to breathe.
The opener, Thorns, is a bit autobiographical, as Ellie sings that she must be a narcissist for having written a “song and dance” about a breakup. “Did it help to take the thorn out, telling the whole world you’d been hurt?” Starting off with delicate keyboards, strings, and vocals, the song quickly turns soaring and less restrained before winding back down to close us out — all too soon. This is one of those songs where 3:14 just doesn’t feel long enough.
The other side of the album’s bookend is The Sofa. For me, it’s the best track on the album. Ellie’s vocals are at their finest, and Joel gives us a slightly funky groove on the drums that keeps it catchy. Theo lays down a bass line that’s a delight to the ears, all topped off with keyboards and harmonies that combine into a song deserving of a spot on any playlist.
In between Thorns and The Sofa is far more than filler. Bloom Baby Bloom combines all of Wolf Alice’s sounds into a single song — splashy drum fills, a honky-tonk-style piano, thick bass riffs, and a whimsical pop chorus. Only Wolf Alice could make this work, and they do so effortlessly here. White Horses leans more into a traditional rock vibe and will have you nodding along and tapping your foot well before the vocals even hit.
The Clearing feels like a band fully comfortable in their own skin. It’s an album that rewards patience, invites repeat listens, and reminds you why Wolf Alice remain one of the most intriguing bands of their generation.
