The Clearing: Wolf Alice Step Forward Without Looking Back
- JCP
- Jan 26
- 3 min read
Wolf Alice are 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.
The Clearing: Wolf Alice’s Evolution Continues
Label: RCA and Columbia Records
Released: August 22, 2025
Genre: Indie Rock, Pop Rock
Website: https://www.wolfalice.co.uk
Tracklist:
A1 Thorns
A2 Bloom Baby Bloom
A3 Just Two Girls
A4 Leaning Against The Wall
A5 Passenger Seat
A6 Play It Out
B1 Bread Butter Tea Sugar
B2 Safe In The World
B3 Midnight Song
B4 White Horses
B5 The Sofa
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 No. 1 on the UK Albums Chart, demonstrating the momentum they had coming out of Blue Weekend.
One thing that remains consistent about Wolf Alice is the talent in the band
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 frontwoman 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.
