‘Smitten’ is a successful turning point for Pale Waves

Inspired by frontwoman Heather Baron-Gracie’s teenage diary entries, the fourth album by Pale Waves, Smitten, is a cohesive, wistful work, unafraid to confess desperation and love. “Romantic, delicate, and feminine,” the album represents, above all, the group leaving behind the pop-punk sound of their previous album, Unwanted, for the familiar territory of indie rock.

The second lead single and opening track ‘Glasgow’ sets up the mood of the album expertly, with Baron-Gracie reminiscing on a failed romance. References to family in the first half of the album ground the songwriting in her own experiences of past relationships, self-reflection, and loss.

Smitten breaks free of their often-compared-to influences, retreating from the punky territory of their previous album Unwanted back to calmer, indie rock waters

Signed to The 1975 frontman Matty Healy’s indie label Dirty Hit, Pale Waves have been criticised by some as “an imitation act” of the band and, also, more recently, 2000s icon Avril Lavigne. Smitten breaks free of their often-compared-to influences, retreating from the punky territory of their previous album Unwanted back to calmer, indie rock waters.

Since Pale Wave’s 2020 track, ‘She’s My Religion’, no album of theirs could be complete without a song heavy with religious imagery. Smitten’s ‘Gravity’ fulfils this role, detailing Baron-Gracie’s relationship with a religious lover who struggles to accept her queerness. Its choral intro and light instrumentation complement the delicate balance between faith and sexuality, a challenge that many queer people face. Baron-Gracie’s lyrics frame these struggles from the opposite perspective, feeling dragged along by her partner’s turmoil, but without malice or resentment – the song still has an optimistic feel, which continues throughout the album.

The lyricism of ‘Last Train Home’ is some of the best on the album, allowing Baron-Gracie’s voice to do the heavy lifting in a gentle, vulnerable track, accompanied by a comforting bassline and drumbeat. She explores the complexities of belonging and familiarity in a dramatic rising bridge that quickly dies back down to let a sorrowful guitar see the song to its close.

There’s no sense of defeat in Baron-Gracie’s songwriting, just an acceptance of her pain

The idea of failed romance introduced in ‘Glasgow’ continues to be an underlying theme of the album. The seventh song, ‘Kiss Me Again’, deals with a doomed relationship, but Baron-Gracie finds comfort in her lover regardless. While exploring the strain of heartbreak, this track could have easily set a pessimistic tone for the album, yet Baron-Gracie has the confidence to remain hopeful and optimistic.  ‘Slow’ closes the album with an assertion of strength and honesty – she remains open and vulnerable despite the failed romances she’s endured.

The album’s grounded first half gives way to an idealistic, dreamy second half, but this thematic split loses its poignancy as Baron-Gracie’s undeniable vocal prowess is unsupported by sometimes unimaginative lyricism. Honest desperation characterises lead single ‘Perfume’, however, the impact of this song is unfortunately held back by a too-repetitive chorus that feels overly radio-friendly.

The courage to decry pessimism in an album that could so easily be a revolt against romance makes Smitten stand out. There’s no sense of defeat in Baron-Gracie’s songwriting, just an acceptance of her pain.

While perhaps less theatrical and with fewer standout hits than their previous album, Smitten continues to deliver stunning, emotive vocals, and masterful musical accompaniment – even its quiet moments improve upon the low points of past releases. However, the album diverts from the band’s previous style, representing a successful turning point in their ten-year career.

Recommended Listening: ‘Last Train Home’, ‘Slow’

★★★