White Lies return with Night Light, a bold, live-wired album that reignites their post-punk pulse with fresh energy, blending raw performance, cinematic atmosphere, and fearless experimentation.
White Lies return with Night Light, their seventh studio album and first in nearly four years. The London trio of Harry McVeigh, Charles Cave, and Jack Lawrence-Brown have tapped into something raw and instinctive this time, capturing the spark that has kept them vital for more than two decades.
Rather than build songs piece by piece in the studio, the band wrote and rehearsed Night Light live, then recorded it the same way at Paul Epworth’s Church Studios. The approach brings a striking sense of immediacy to the record, trading precision for pulse. Inspired by the spontaneous energy of some of the legendary The Midnight Special TV show performances, the album fuses muscular post-punk rhythms with cinematic synths and soaring melodies.
Produced by Riley MacIntyre (Ezra Collective, Arlo Parks) and mixed by Chris Coady (Yeah Yeah Yeahs, Beach House), Night Light feels both expansive and deeply human. Guest musician Seth Evans of Black Midi adds a touch of experimental color to tracks that balance power and restraint. From the driving opener “Nothing On Me” to the neon shimmer of “I Love(d) New York” and the Springsteen-inspired “Everything Is OK,” the album moves with confidence and heart.
Closing track “In The Middle” stretches to six hypnotic minutes, channeling the motorik flow of Neu! and the sophistication of Roxy Music. “The lyrics to the verses for ‘In The Middle’ have been written in notebooks for nearly a decade, waiting for the right vessel,” says McVeigh. “It’s a song about moving, not necessarily moving on, but finding a new emotional place needed for growth.”
With Night Light, White Lies sound fearless again. It’s an album that honors their anthemic roots while embracing the thrill of the unknown, proving that evolution can sound every bit as exhilarating as arrival.