Wolf Alice are no strangers to the major music scene; they've performed at Glastonbury’s renowned Pyramid stage (twice), are regulars on festival main stages, and opened for Harry Styles during his Love On Tour in Europe in 2022. Nevertheless, they still seem like a band that doesn’t completely fit within the arena setting. Perhaps it’s because even after a decade, the intense energy of ‘You’re A Germ’ conjures images of sweaty basements and pub back rooms; maybe it’s the raw honesty of ‘The Last Man On Earth’ that feels too personal for a larger audience; or despite their undeniable critical and commercial achievements (including an impressive 100% success rate on the Mercury Prize shortlist), they still have the charm of a well-kept secret, remaining fresh and vital. If you know, you know—tonight, we’re part of a knowledgeable crowd of 20,000.
It's both appropriate and impressive that this—being the second of two sold-out hometown shows at The O2—not only embodies the spirit of Wolf Alice’s DIY origins but also enhances it, transforming the venue's vast, corporate space into an electric atmosphere. Favoring impactful, low-maintenance visuals over elaborate productions, the North London quartet relies on their stellar discography, which speaks for itself.
On one side, we see Wolf Alice as they’ve recently appeared: stylish and exuding the ‘70s allure of their fourth album, ‘The Clearing’, showcased through the mellow, disco-inspired ‘Just Two Girls’ and the glamour of Ellie Rowsell on her rotating platform during ‘The Sofa’—truly an “intellectual beauty queen.” Throughout, there are poignant moments, notably an acoustic performance of ‘Safe From Heartbreak (if you never fall in love)’ where the band gathers at the front of the spotlight, without instruments except for Joff Oddie’s guitar, creating a stark contrast against a sea of flickering phone lights.
Conversely, we also witness Wolf Alice as rock icons: as ‘Formidable Cool’ from 'Visions Of A Life' receives an early play and Ellie unleashes her primal scream, shadows on stage shift from mere silhouettes to haunting figures, with drummer Joel Amey and bassist Theo Ellis striking a perfect balance between tension and release. Later, during the high-energy surge from ‘Yuk Foo’ to ‘Smile’, this balance completely dissipates as the band embraces their earlier chaotic tendencies without reservation. The ground shakes, our ears throb; it’s the loudest The O2 has ever been.
The highlight, however, comes after the set closer and modern classic ‘Don’t Delete The Kisses’; it’s ‘Bros’, Wolf Alice’s anthemic tribute to the enduring connection between best friends. Much like ‘... Kisses’, it's a love song in its own right, radiating an unreserved joy that feels almost tailor-made for this occasion—a prophetic salute to their triumphant moment. As the stage screens flash an old clip of the band as younger artists, the message resounds clearly: just look at how far they’ve come.
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