The Waeve – City Lights

Graham Coxon and Rose Elinor Dougall came from two different musical paths before the pandemic; Coxon is a founding member of one of the most famed Britpop acts of all time and Dougall has lent her voice and pen to many beloved projects across varying genres. In 2020, the two met, and when Dougall suggested they should collaborate to help them escape their respective creative ruts, the stars had aligned. With this, the two began a partnership both in song and, eventually, love under the name The Waeve. Coxon and Dougall began telling stories of their deep and intense pasts with their first project, but as their budding relationship continues to bloom, a new story emerges; their sophomore album, City Lights, is just that.

The Waeve’s debut displays dreadful beauty as folk and jazz moments, elegant, yet distressing lyricism, and Dougall’s entrancing vocals decorate the majority of the album. City Lights, however, switches the tone sonically and thematically. The title track starts on an extreme and existential note; Coxon’s classic guitar sound, which is minimal on The Waeve, already signifies a complete 180 turn, and although the theme carries on from what is generally found in their first record, it is evident from the start that the two albums are not synonymous. With help from co-producer James Ford, the trio work brilliantly to ensure that every strum of a guitar and every hit on a symbol has a purpose; every bit of anger that this first song expresses is displayed within the music, thus making for an immersive listening experience. The Waeve not only wants listeners to feel the instrumentals, but to also visualise the story being told. Imagery floats around City Lights, and the production only enhances the intensity of each word.

Despite these first few moments of the record being quite harrowing, the duo transition seamlessly into discussing how their troubled experiences have brought them together for the better. You Saw, I Belong To and Simple Days are very touching and romantic as the pair go into great metaphorical detail on how their love came to be, and they want listeners to feel the same emotions alongside them. Song for Eliza May is a main highlight about their daughter, and this dedication is a great testament to The Waeve as a band. Coxon’s elaborate guitar solo is thrilling and provides an outstanding contrast to Dougall’s folk approach that is backed by an elegant strings section. The two express how their daughter is living proof of the love they have for one another, and the way in which they each provide their own individualistic flair to the mix enhances every emotion these poetic lyrics present.

Girl of the Endless Night is also a highlight. The fact that this song and the title track are both moments on the same record does not necessarily make sense, but The Waeve has made one thing clear on City Lights: consistent production is not what makes an album great, but rather what the sound adds to its content. In Girl of the Endless Night, a story worthy of its own film is told, and it is only right for it to have such a powerful western folk inspired tune.

City Lights wraps up with Sunrise, and this heavily romantic ending leaves listeners feeling light, fresh and hopeful. The Waeve may have begun with intense angst and calamity, but as their story unfolds, they reveal that all the trials they have faced apart has only led to them growing together. Overall, City Lights is a wonderful composition that shows listeners just how powerful human connection can be. 

Taryn Crowley
Image: Kalpesh Lathigra

City Lights is released on 20^th September 2024. For further information or to order the album visit The Waeve’s website here.

Watch the video for the single You Saw here: