Wolf Aliceâs Ellie Rowsell and Theo Ellis are staggering across the stage, feeling every note. They lock their guitars into a battle as the searing chorus of âGiant Peachâ lifts off â a breathless ode to leaving your hometown â and set the scene for Rowsell to let out a raw, desperate yelp. âââMy dark and pretty town!â, she screams with a delivery so guttural that it could (probably) extend from the PA all the way to the Holloway stomping ground that she is singing about.
A studious leader with a gorgeously rich voice that rinses every drop of emotion from her bandâs thrilling indie-rock songs, Rowsell moves from these tangible, trembling moments â âPlay The Greatest Hitsâ is another storming highlight â to plaintive and pure on the spine-tingling, Bowie-esque âThe Last Man On Earthâ, for which she uses a vintage mic. Judging by how powerfully the captivated crowd sings the former, it seems astounding that the London four-piece arenât higher up on this yearâs bill than the Sunday teatime slot.
Not that the band themselves actually mind. In fact, they seem even more bloody excited to be here than the faithful that have packed out the Main Stage East for them. âWeâre currently playing at Reading Festival on the Main Stage?â, exclaims a genuinely mystified Ellis at one point. âWhat the bloody hell has happened here?â

Since their 2015 breakthrough, âMy Love Is Coolâ, Wolf Alice have won themselves countless accolades (including three consecutive Mercury Prize nods), an ever-growing fanbase, and their latest album, âBlue Weekendâ, is their best yet. While Ellis might clearly be surprised by the bandâs success, their ability to deliver the scratchy pop of âBeautifully Unconventionalâ and the meatier âMoaning Lisa Smileâ with the same wicked ferocity means that itâs impossible not to love and admire them in equal measure.
A snarling âFormidable Coolâ encourages a now wild-eyed Rowsell to jump frantically in circles â and the young audience before her heroically tries to do the same. But amongst the monster riffs, thereâs space for moments of lightheartedness, too. Ellis insists on offering devil-horns aplenty â a knowing, continuous gimmick that leaves the whole band laughing.
Closer âDonât Delete The Kissesâ provides the life-affirming experience that the weekend has been building up to; this generation-defining love song makes for a big, thumping ending that is certainly headline status ready. As a wistful bass line gently fades out, Rowsell sits on the lip of the stage and chuckles, grateful for the communal spirit that her gang has managed to engender.
Check back at NME all weekend for more reviews, news, interviews, photos and more from Reading & Leeds 2021.Â
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