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Above photo courtesy of Wet Leg’s Instagram 

Wet Leg’s rise to fame was a bit unexpected. The UK duo is made up of Rhian Teasdale and Hester Chambers, who met while studying music as teenagers on the Isle of Wight, an island off the southern coast of England. After the breakthrough of their 2022 hit, “Chaise Longue,” the public was split about whether or not they’d make a lasting impact in music or whether they were an unserious, fleeting moment in the resurgence of early 2000s indie. 

They saw more success with their 2022 hit, “Wet Dream,” which was later covered by Harry Styles during a BBC Radio 1 Live Lounge segment, and only served to catapult Wet Leg to further fame. The duo later signed on as Styles’ opener for the European leg of his “Love on Tour” in 2023, and for Foo Fighters on their “Everything or Nothing at All” tour in the United Kingdom and for some select North American dates. 

And yet, even though Wet Leg was garnering significant success, it was difficult to take them seriously. The duo was, simply put, silly. Touting lobster claws in the “Wet Dream,” music video and incredibly large straw hats in the “Chaise Longue,” music video, it was clear that they were having fun and enjoying the unseriousness of their music. 

Headed into their second album, Wet Leg also expanded into a five-piece band – officially adding three members to their live band – Henry Holmes on drums, Josh Mobaraki on guitar, and Ellis Durand on bass.

On Moisturizer, they certainly keep their cheekiness about them and fire off a lot of catchy tunes, but they refine their sound and their lyricism. Perhaps most importantly, Moisturizer doesn’t sound like the second album from a band who were concerned about following up their massive debut, or who were actively trying to reinvent their sound so that they were taken more seriously. And I think that’s what makes it work so well. 

On Moisturizer 

Moisturizer opens with the gritty, alternative “CPR,” which is a love song at its core, but focusing on the often anxiety-inducing feeling of love crushing down upon your chest suddenly. The song is driven by a forceful guitar riff, which is offset nicely by Teasdale’s airy vocals. 

“Put your mouth to mine and give me CPR / Call the triple nine and give me CPR,” Teasdale sings during the chorus, only to follow up with, “999 what’s your emergency? / Well, the thing is, I’m in love / Oh, I’m in love / And you’re to blame,” during the bridge. The track sets the tone for the rest of the album, which is clearly going to center around all of the messy, tender, and downright aching moments that come along with love. 

The album is inspired by Teasdale’s own relationship with her partner, who identifies as non-binary, and we hear her coming to terms with her own sexuality and passion for her partner. 

Overarchingly, the album comes through as an alternative rock record, but there are moments where other genres pop in here and there to make themselves known. On “catch these fists,” – the lead single for the album – there’s an aggressive punk energy, coupled with Teasdale’s lyrics: “I know all too well just what you’re like / I don’t want your love, I just wanna fight.” 

While love is one of the blanketing themes of the album, many of the songs come through with a biting, almost reticent quality. “davina mccall,” is perhaps the sweetest, most tender look at love that we get on this record. “You know that I would / Do anything for you / It’s like a dream come true / Every day is spent trying to say something to make you smile,” Teasdale sings in the chorus. 

“Mangetout” is a standout on the album with a driving drum beat reminiscent of the Smashing Pumpkins circa “1979.” It’s personally one of my favorite tracks on the whole album. (It also sounds particularly fantastic in Wet Leg’s NPR Tiny Desk concert, linked here in case you’d like to watch.) 

All of the songs on the album are designed to let Teasdale’s hushed voice shine, and this is particularly evident on “pond song.” Written by Chambers, the track notes that falling in love can sometimes feel like getting hit in the face. “It hit me like a roundhouse, left hook, uppercut / Kiss me once, once for luck / I’ve never been so, I’ve never been so deep in love.”

“Pokemon” is one of the lightest, breeziest tracks on the album, set against an 80s-style drum beat. “Pillow talk” emphasizes the punk rock influences that were teased at the beginning of the album with “CPR;” “don’t speak” is done in a classic, indie-rock style; and “11:21,” is a moodier, more ghostly ballad track where Teasdale stretches her vocals. 

The album closes out with “u and me at home,” a high-energy track celebrating the safety and comfort in everyday life of a relationship that you’re happy in. “You and me at home again, you and me at home / Maybe we could order in, maybe we could grow / Baby, we’re just stoned again, funny how that goes / I’m over everybody else, happy comatose,” Teasdale sings in the first verse. 

While Moisturizer might be less mainstream than their debut, the album allows them to explore more genres and expand as a band. You certainly can’t accuse Wet Leg of hitting the sophomore slump. 

Listen to the whole album below: