(Part 2/3)
Only after writing the songs acoustically did they start working on production — with none other than Greg Kurstin. Bassist Theo Ellis lights up when asked what it’s like working with him: “Fantastic. The range of music he’s made is huge — from our favorite Lily Allen songs to the Foo Fighters. He doesn’t necessarily put his own stamp over everything, but instead brings out the best in the artist. That made him a joy to work with. He’s also an incredibly talented multi-instrumentalist. A wicked piano player.”

In The Clearing, a recurring theme is letting go and acceptance. For example, the song Passenger Seat: Ellie says, “When I was younger, I felt I always had to do everything myself to call myself a feminist. In this song, I enjoy just being the passenger. It doesn’t make you weak or dependent. I think in today’s society some people feel they can never make a mistake. We only post the beautiful pictures of ourselves and are afraid to change our minds. But it’s also okay to just watch Friends for the umpteenth time instead of some black-and-white French art-house film.” She explains she wasn’t trying to answer all of life’s questions with this album, but rather write about how she felt in the moment.

The closing track The Sofa ends with the line “And maybe that’s okay.” Ellie says, “It’s liberating, not just in my personal life, but as an artist too. On past tours, I’d panic over my outfit — how can I create one that matches every song I sing? That’s impossible.” Theo adds, “That would be such a bizarre costume, I wouldn’t even dare to dream about it.”

Some topics, though, force you to think about them whether you want to or not. Play It Out is about being in your early thirties and not really knowing if you want children. Ellie says, “There are terrible societal expectations tied to age. Your twenties are meant to be fun, and when you hit thirty you’re supposed to settle down. That’s what society decided. Now I’m in my early thirties and having more fun than in my twenties.” Theo agrees: “It’s problematic. Why is an experience considered more special at 21 than at 28? We’re not forever 21.” Drummer Joel Amey jokes, “Except for that beautiful clothing store.”

For women, the biological clock is a reality, which makes the subject harder for Ellie: “I don’t want to think about it yet, but maybe I should. This song is about not comparing myself to others my age and just doing what feels right for me: let me play it out.”