More about: Wolf Alice

Ahead of their 2018 Mercury Prize win for Visions Of A Life, Wolf Alice self-mockingly described themselves as “too pop for rock, and too rock for pop". Such a phrase has often been used as a stick to beat them with since, but it perfectly explains their continued success over the past decade.  

Simply put, they possess an irresistible pull to music fans who enjoy alternative rock without cutting themselves off from the poppier side of life. Released a year ago, third album Blue Weekend is case and point, an eclectic mix of fantastic tracks that has seen them reach unimaginable heights.

Long before being regarded a “mainstream” artist, Wolf Alice were that one band people were sick of me going on about. Be it to family members at weddings, office workmates or friends with only a vague interest in guitar music, I could be found rambling on about their early greatness! It all began when I heard ‘Moaning Lisa Smile’ on a late night radio show in 2014, instantly knowing they were destined for big things. As I quickly fanboyed over their early EPs and YouTube videos, I eagerly awaited their breakthrough into the hearts of the indie music fandom.

They emerged at a time that was even less guitar friendly than today. At the 2014 BRITs, Alex Turner defiantly proclaimed that rock ‘n’ roll was “ready to make its way back through the sludge and smash through the glass ceiling, looking better than ever.” Right on cue, I was soon to discover Wolf Alice. To my delight they were a band who would restore my hope in mainstream rock ‘n’ roll, possessing a credibility found lacking in the then popular contemporary bands. 

Led by the timid and equally feisty Ellie Rowsell (who I may or may not have had a slight crush on…) and supported by her stylish and charismatic bandmates Joff Oddie, Theo Ellis and Joel Amey, Wolf Alice looked the part, yet there was also so much more to them than met the eye. 

Over the next few years, I watched on with pride as my predictions came true. Wolf Alice established themselves as a formidable rock force, their cult-like following spreading like wildfire with the release of 2015 debut My Love Is Cool and furthered with 2017’s Visions Of A Life. During this period they gradually broke through to the top of festival line ups, slots that were often dominated by bands from the decade before. 

Rather predictably, I dragged my mates to see them at Lollapolooza in Berlin, Glasgow Summer Sessions, TRNSMT, Oran Mor and Spain’s Benicassim.  Each performance was absolutely gripping, but with such a gruelling tour schedule and so much success in a short space of time, it was understandable that Wolf Alice would feel the need to go on an extended break. Little did I know that in this period they were in the process of creating their most successful album to date – Blue Weekend.  

Upon its release on 4 June 2021, I proclaimed Wolf Alice’s third album a “modern-day masterpiece” and took a level of ribbing online for my overdramatic praise. I look back on this exuberance with a mixture of mild agreement and embarrassment, but certainly not without too much regret.

What’s clear is that Blue Weekend is Wolf Alice’s most memorable and eclectic album yet. They revealed a more mature side with stunning comeback ballad ‘The Last Man on Earth’ (I’m not ashamed to admit that tears were close to being shed on first listen…) and followed it up with the punk sneer of second single ‘Smile’. 

Wolf Alice’s latest is their first without any duds (honestly, I still cringe when I hear early albums tracks ‘Yuk Foo’ or ‘You’re a Germ’…) and over the 40 minute album they excellently move through a number of sounds. You have self-conscious pop (‘Delicious Things’), dreamy shoegaze (‘Lipstick on the Glass’, ‘Feeling Myself’, ‘The Beach II’), folk (‘Safe From Heartbreak’) and tender tearjerkers (‘No Hard Feelings’) all effortlessly sitting alongside each other. Meanwhile, on tracks like the Fleetwood Mac inspired ‘How Can I Make It Ok?’ (an instant favourite of mine), Ellie’s voice reaches angelic levels and the looped ‘oh ohs’ two-thirds in still sound spine-tingling hundreds of listens later. 

As well as being nominated for another Mercury Prize, the success of Blue Weekend saw Wolf Alice reach new levels of mainstream success. They gained their first UK number 1 album and followed that up with a surprise BRIT Award in February 2022 for Best Group beating none other than Little Mix and Coldplay! Contemporary indie bands aren’t supposed to do that, right?  

A week after their win, I bounced along with a boisterous Barrowlands crowd as they played their first Glasgow date in almost four years and it was great to see how far the love had spread. That the largest cheers were saved for many Blue Weekend songs also confirmed how it more than held its own against their earlier material.

One year on, do I still think it’s their best album to date? It’s still too soon to say. What I do know is that Blue Weekend further justifies what I’ve been saying for years now – Wolf Alice are the best British band around. The sound of a band at the peak of their powers.

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More about: Wolf Alice