It’s a tale as old as indie rock itself: Wet Leg didn’t think anyone would hear “Chaise Longue.” Barely two years after college friends Rhian Teasdale and Hester Chambers decided to write music together on a whim, their deadpan, Mean Girls-quoting debut single made them international stars. In the short time that followed, they opened for Harry Styles, rock veterans like Dave Grohl and Iggy Pop became fans, and their self-titled LP won them multiple Grammys. Beyond their relatively simple, hook-based post-punk, there was also something endearing about Teasdale and Chambers, two conventionally attractive, deliberately softspoken, undoubtedly cool young women from the sleepy Isle Of Wight who dressed like they had eBay alerts set up for Gunne Sax skirts and wielded kitschy props like lobster claws in their music videos. To the uninitiated, it was sometimes hard to discern if Wet Leg were taking themselves overly seriously or not seriously enough. Time spent with the music suggested the circumstances were more aligned with the latter.
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