Social Disguises Album Review – The Enemy

The Enemy are a band that spearheaded the music scene in the late 2000s with their debut album reaching number one, and each album to follow cementing their status as one of indie rock’s finest. They emerged at a time where a lot of bands were seen by critics as formulaic, but The Enemy resolved this lethargy, providing a fresh take on the genre. Whether you realise or not, they’re one of those bands that have defined part of your childhood with their sheer influence on other bands with relatable lyrics about industrial decline, harsh economic realities and friendship which all now feel more potent than ever. The Enemy themselves felt the impacts of these circumstances and called it quits in 2015 due to a multitude of financial and personal reasons. After time away, and a solo stint for frontman Tom Clarke, they all fell back in love with music and have played together several tours since 2022. Then came the news everyone was waiting for, for the first time in almost 10 years, The Enemy are back with new music, with a vengeance against the media critics to restate themselves as the icons they are.

Opening this stomping album, is the single, ‘The Boxer’, which brings their swagger, and no-nonsense attitude as they explore the tale of a former man about the town who could’ve made it but never caught the opportunity he needed. This is poetic to the mundane existence that comes from having dreams of being more than you are but succumbing to the standard 9-5 chore that the majority endure. Drawing from their newfound electronic synth elements discovered during their previous album It’s Automatic (2015), this introduction to the album shows The Enemy mean business with crashing drums, guitars reminiscent of dystopia and an overwhelming wall of sound that dominates your ear drums. 

‘Not Going Your Way’ is The Enemy’s first offering of new music prior to the album, and it holds that signature style the fans love. With bouncy joyous drums and classic 2000s harmonies in the chorus, this contrasts the lyrical content of a struggling relationship mixed with a feeling of acceptance of the situation. This moves swiftly into ‘The Last Time’ with a short and sweet introduction for a compact track with sweeping vocals and quick verses. ‘Trouble’ is the second single of this album cycle. After the abrupt ending of the previous track, ‘Trouble’ builds on that heaviness with a darker, heavier classic rock bassline as Tom Clarke reflects on his lack of understanding of the things going on these days. I mean, can anyone know what’s going on when we’re constantly bombarded with news and information all around the world? The chorus is super catchy and upbeat to clash against the bassline to be succeeded by a morse code beeping outro which is simple but very effective.

‘Controversial’ is my favourite track on the album, and I don’t think this will be a controversial take amongst the fans. This is a colossal track. Social commentary comes in the form of censorship depending on who you’re with. The lyrics don’t delve into any specific topics which is a clever portrayal of that censorship, there is also no definitive that this is a positive or negative which invokes questions about wider social settings and where one should stand on the issues of the world. The guitars rip through with ease, but their repetitive nature has you hooked. The chorus features simple lyrics, but the guitars and drums provide a sonic bombardment overlayed by harmonious backing vocals. This is one I see doing well in a live setting.

Now take a moment to breathe. But don’t relax too much because there’s an interference in your ears, can you decipher the music and the message behind the mini monologue? ‘Interference’ is a pause, an interlude in the middle of the album with buzzing radio transmission and a woman who speaks of trying to fit in where she doesn’t belong. This may only be an interlude but holds an important message to be who you are. The violins invoke hope as they rise in pitch at the end. This directly leads into the topic behind the title track ‘Social Disguises’ where Clarke also sings about not feeling the need to explain the way he is and not being forced into doing things others want because it’s not worth his time. The social disguise is the lowering of the veil, the removal of the mask to show the disguise doesn’t exist anymore. This all transpires across chilled, groovy guitars and elementary polyphonies. This is a track about inspiring hope into everyone to be who you are and to be authentic. 

This relaxed change of pace wasn’t to last, with ‘Pretty Faces’ picking the energy back up. The filler backing ‘ba’s’ feel like they were plucked straight out of a Madness song but mixed with guitar riffs from an early Arctic Monkeys album. The cacophony of sounds are stabbed with snarling vocals as the pretty face in question is welcomed to the rat race. The distorted guitar solo in the bridge soars across and dances up and down carrying you along as if it’s supporting you in this dire race. The rules of 2s are adopted in ‘Serious’ as the track title is repeated in each line of the chorus which opens the track as opposed to a verse. Darker guitars are adopted once again throughout this track to represent the emotions of this song. Another short and sweet track marked by a chaotic outro with meteoric guitar solos and crashing drums torpedoing from all angles but is slowly faded out.

The penultimate tune, ‘Innocent’, utilises a synthesiser loop introduction that builds the foundation of intertwining guitar layers and vocals that become more forceful as the song progresses. The instruments depict the accusatory nature of reminding someone that it takes two individuals for any situation to occur and it can’t all just be put on one person. Throughout this album, the choice of guitar developments and vocal styles are carefully selected to force across the emotions behind the lyrics. 

To finish The Enemy’s triumphant return, is the aptly named ‘Finish Line’ as the final song. This simplistic track is a repetition of the lyric “we can make it to the finish line” as the guitars and drums quietly progress at a steady incline. This could be alluding to the band making it to their own finish line of falling back in love with music again.

Social Disguises (2026) is the antidote Enemy fans need to heal the longing for new music. Whilst maintaining their roots, a range of styles are explored to prove The Enemy are evolving and moving with the times. The result is a dominating album which takes its rightful place as my top February release. The wait will have been worth it. Welcome back, The Enemy, take a bow.

Words by Ruby Macklin