At Primavera Sound Barcelona, Rhian Teasdale, 32, emerges from smoke, stained the colour orange by stage lights, gallantly flexing her arms within the air. She hovers over the mic, revealing bleached eyebrows and hair that fades from brown roots to pink. Her outfit is highlighted by a trimmed white shirt and neon fishnet leggings — a transparent departure from the bohemian model that proved prevalent amid the discharge of “Wet Leg” in 2022.
Anybody who has seen the five-piece rock ensemble in 2025 will know that this can be a visually completely different band than that of three years in the past.
“It was five years ago that we made the ‘Chaise Longue’ video,” Teasdale says. “People have seen your image as a certain way, and then you grow, you change.
“It’s funny how much people expect you to stay the same, and it’s somehow this big statement to grow and change.”
Rhian Teasdale and Hester Chambers of the rock quintet.
(Alice Backham)
She additionally notes that “subconsciously,” she had chosen her former apparel out of discomfort. Now, feeling extra at dwelling in her personal pores and skin, she will take a extra genuine method to herself.
“I did not want to be sexualized by men,” she displays. “The thought of showing any skin and anyone maybe thinking that it was for the male gaze made me want to cover up and not be noticed.
“It wasn’t a conscious gear shift kind of thing, but there are a few things that I can look back on and pinpoint why I’m able to have so much more self-expression.”
Nonetheless, their self-titled debut — as kitschy and cottagecore because it was in look and sound — definitely warranted the reception that it obtained, that includes tantalizing tracks akin to “Chaise Longue” and “Wet Dream.” Within the latter’s music video, Teasdale and Chambers unforgettably prance round in lengthy, blue clothes whereas sporting lobster claw gloves. However it could be “Chaise Longue” that snatched up a Grammy award within the various music efficiency class; the band additionally received for various music album.
For being caught inside the confines of an island populated by simply 140,000 individuals, Moist Leg’s rise was meteoric. Teasdale mentions that the lives of the Isle of Wight natives have been “completely changed”; she was a stylist assistant for commercials in London, bassist Ellis Durand was placing up scaffolding, drummer Henry Holmes was a surf teacher, guitarist Joshua Mobaraki labored in a café and Chambers had taken up a place making jewellery within the household enterprise.
Certainly, the “very sleepy and small-minded” island off the coast of England, recognized for its lovely coasts, isaltogether a grain of sand within the Channel, hidden beneath the mainland’s shadow.
“You have to take a boat over there,” Teasdale says of the island. “There’s no bridge, there’s no tunnel.”
Although she’s since moved to London, leaving it within the rearview at 18, she notes that Chambers, Mobaraki and Durand nonetheless name it dwelling. Holmes additionally made the mad sprint to town.
“We’re all just living our little lives and all of a sudden you’re touring the world,” Teasdale says. “It’s crazy going to the Grammys and looking at all the famous people off the telly and just feeling very odd.”
Although, it now appears that the group are effectively adjusted to fame, as they return for his or her sophomore album, “Moisturizer.” It’s a much more sonically expressive, genuine and uncooked file than that of its predecessor. Although nobody can deny the hypnotic nature of hits like “Chaise Longue” and “Wet Dream,” the group has undeniably advanced and it exhibits throughout the whole 12-track undertaking.
Moist Leg has skilled a change of look since their debut three years in the past.
(Iris Luiz)
It opens up with the oh-so-smooth “CPR,” the second single launched off the album, which Teasdale describes as “walking up to a great height [and] jumping into the abyss that is love.” This proves to be a constant theme throughout “Moisturizer,” which regularly seems like Teasdale’s ode to an aching coronary heart. “CPR” is simply the “launchpad” for the “rest of the tunes to spawn from.”
This pours into “liquidize,” which teems with a way of craving, questioning in heartache , “So many creatures in the f— world / How could I be your one?” On the rougher “jennifer’s body,” Teasdale’s gentle supply shines by way of to say “Every day starts and ends with you / Hold me down I get high on you” earlier than taking a backseat and letting Chambers’ guitar wail away.
“I think before falling in love this time around with my current partner, I just had no interest in writing love songs,” Teasdale confesses. “I’d only dated men up until my partner… I feel like the world is so saturated with love songs from a very heteronormative perspective and I felt no interest in it at all.”
As for the change of coronary heart: “I think love just hit me really heavy this time… I’m just so very, very, very, in love.”
Hilariously, she additionally compares the album rollout course of this time round to a reasonably obscure occupation she was thrown into previous to the band’s rise. Teasdale, who as soon as labored as a baker, says their debut was like “when you start a new job and you’ve been told you have to make doughnuts.”
“You don’t know where any of the stuff is, so someone has to teach you… where the cookie cutters are, and where the box of sugar is,” she says, laughing. “You know, just like rolling out an album, rolling out the doughnut, rolling out that dough.”
A spotlight of the album is available in their third single, “davina mccall,” a mellow and dreamy music that references the famed British “national treasure” recognized for her work as a TV presenter on “Big Brother.” Teasdale says she watched the present as a child within the 2000s and was at all times fascinated when McCall would flip to the digital camera and say, “This is Davina, I’m coming to get you” when a contestant was eradicated.
“It was a very dramatic moment when Davina McCall was coming to get you,” she says. “It’s kind of a little joke that I’ll come and pick you up wherever you are.”
Teasdale says McCall even lately got here to a Moist Leg present after the band had informed her they’d written a music utilizing her title. Fortunately, she was “so cool” and gave “the best hugs ever.”
However followers may even be happy to note that the group has nonetheless maintained their signature, daring tongue-in-cheek model of lyrics. On “mangetout,” Teasdale sings “You wanna f— me? / I know, most people do” over a {smooth} riff and declares on “pillow talk” that “Every night I f— my pillow / I wish I was f— you.”
“The more muscular sound that is on this album is just the result of five people that have been touring together for something shy of three years,” she says. “I think my sense of humor will always be the same… it’s kind of impossible to leave that behind.”
In the previous few tracks, the album noticeably slows down. “11:21” is a ravishing music that finds power in its simplicity. The title is a name again to the day Teasdale met her accomplice: “Time goes by / But I feel the same about you since the day we first met,” she sings.
(High to Backside) Hester Chambers, Joshua Mobaraki, Ellis Durand, Henry Holmes and Rhian Teasdale of Moist Leg.
(Alice Backham)
It’s sandwiched between “don’t speak,” which falls in need of capturing the identical essence that the remainder of “Moisturizer” is peppered with, and “u and me at home.” The latter is the album’s nearer and options a few of Chambers’ finest performances on the album; it’s a befitting farewell to a wonderful undertaking.
“I think when you’re really close with someone, it just means that you don’t have to use words,” Teasdale says of working with Chambers. “It’s just easy and joyful and the most natural thing.”
“Moisturizer” hits streaming companies and music retailer cabinets on July 11, with all of the potential of outperforming their debut, even with it being as profitable because it was. Collectively, the band sounds extra refined than three years in the past and — if their latest performances are something to go off of — seems to be to gentle up the stage on their North American tour, which begins in September and makes a cease in Los Angeles on Oct. 17.
“I’m just excited for people to hear the rest of the album, because it’s just a fun album,” Teasdale says. “We made it to be played live, so I’m excited for when it’s not a secret thing anymore.”
