Swoon, Baby, Swoon: Wolf Alice’s Ellie Rowsell Puts Alluring Vocals On Full Display.
In Minneapolis, Wolf Alice’s lead singer Ellie Rowsell let her varied vocal talents shine in a ballad-focused concert that still showcased her rocking side. And all the while, cement her as a dynamic vocalist and magnetising frontwoman.
First, of the eleven songs on the band’s new album The Clearing, they played ten of the songs (“Midnight Song” being the lone omission). This included the breakup-lamenting opener of the album’s first track, “Thorns”.
From there, the band pepped it up a little, with the melodic “How Can I Make It OK” and diary-esque “Delicious Things”. Chill, groovy, Rowsell displayed her chord-holding talents and fired up the crowd, emphasized during the chorus on the former.
Save an interjection of “Formidable Cool”, “Just Two Girls” and “Leaning Against The Wall” kept the chill vibes going. And with their groovy tone, Rowsell, entertained the audience with new tracks that were well received. This was especially evident as the music took a back seat to her higher parts.
Even more rock guitar-driven tracks like “Formidable Cool” and “Your Love's Whore” had modifications that emphasized Rowsell’s vocals, whether by isolating a bass line or slowing the pace of the song. Later on, the crowd-pleasing bridge in “Bros” was sung a cappella. “The Sofa” even had a portion that dropped guitars altogether to allow vocals to shine.
“Bread Butter Tea Sugar” signified a shift in the evening, as Rowsell let her hair down, literally. After stepping away from a star projection spotlight akin to First Avenue’s iconic wall, the band then broke into heavier, faster tracks “Yuk Foo” and “Play The Greatest Hits”. On the latter, Rowsell finally let her on-stage presence take control, slinking and shaking across the stage. It was a relief from earlier tethering to the microphone on tracks when she played guitar.
To that, this is where the setlist felt like it could have swapped out for an additional “harder” track or two. Maybe less from the new album and an injection of “Mona Lisa Smile” or even “Visions of a Life”. Yet to their credit, tracks were clustered to keep their diverse song styles harmoniously flowing, without jarring escalations or lulls.
And all night, the audience hung on Rowsell’s every word and moment. By the set-closing trio of “Smile”, “Giant Peach”, and a rousing version of “Bloom, Baby, Bloom”, excitement reached its peak, with the most energetic dancing and impassioned singing witnessed in the venue.
Opening the evening was indie folk/alternative Willy Mason. Playing with a three-piece band, Mason and friends were positively met by the near-capacity crowd.
For the encore of “Don’t Delete The Kisses”, the audience participation was at its peak. Echoed by Rowsell’s beautiful singing, it was a fitting end to a showcase of her range and talent. And one that should put her at the front of female band leaders.
