![]() ![]() So it can mean something nice but it can also be something… terrible,” she adds, quietly, almost embarrassed.Īfter the high of the Mercury win, which came in the midst of a 187-date world tour, Wolf Alice were intent on changing their sound. But initially when we said it in conversation, it meant a beautiful, hopeful weekend – literally: the sky is blue and the sun is out. “It’s called Blue Weekend because there is a lot of sombre-ness… is that a word?… to the album. The album title, explains Rowsell, who writes all the lyrics, telegraphs that dichotomy. But as evidenced by first single “The Last Man on Earth”, the stately, epic piano ballad released in February, for Wolf Alice, quiet can still be the new loud. They’re doing that not by doubling down on the lean, thrilling, clattering rock that made them one of the last interesting young guitar bands in Britain but, on Blue Weekend, they have gone deeper, more introspective, sometimes widescreen and even a bit Cocteau Twins.Įleven years since they formed in north London, it’s the sound of a band stretching out and exploring what guitarist Joff Oddie, 30, calls a “bigger bag of tricks”. Rather the atmosphere is one of tired relief that, after 15 months’ unexpected rock ’n’ roll furlough, Wolf Alice have had a chance to do their job and are at last able to capitalise on the momentum created by their Mercury Prize-winning second album, 2017’s Visions of a Life. Wolf Alice, opening the event, went from golden spot to wooden spoon as their set was largely unwatched by ticket holders frustrated by error message “invalid code”.Īs we speak, no one has any sense of that. ![]() Wolf Alice perform in the Stone Circle as part of the Glastonbury Festival Global Livestream (Photo: Getty: Matt Cardy/Anna Barclay) Rowsell is nervous talking about the album’s more confessional-seeming lyrics. When Live at Worthy Farm was broadcast five days after our interview, technical difficulties meant thousands of UK viewers missed the first two hours of the live stream. “There was the view, and concentrating on what I’m doing, and what’s that over there and waaahhh!” he exclaims, as if still processing the weirdness of playing at the top of Glastonbury’s empty 900 acres, in the Stone Circle, to an audience of roadies, camera crew and cows. “It was a sensory overload a little bit,” says drummer Joel Amey, 30.
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