The lights hit Wolf Alice just moments after Harry Styles commanded the stage. A dizzying rush – from captivated audience members to Britain’s best group. Drummer Joel Amey still struggles to grasp the speed of it all, the second Group of the Year win feeling almost surreal.
Their critically lauded fifth album, *The Clearing*, released last August, secured their victory over formidable contenders like Pulp and Wet Leg at Manchester’s Co-op Arena. It wasn’t just the award itself, but the disorienting transition – a whirlwind of sound and spectacle culminating in a shared moment with the iconic Bez.
Joel recalls a delayed realization, a quiet assessment on the winners’ carpet. Someone pointed out it was their second BRIT Award for this honor. Looking at his bandmates – Ellie Rowsell, Theo Ellis, and Joff Oddie – the weight of the achievement finally began to settle. Awards aren’t the driving force behind their creativity, but this validation, this widening circle of appreciation, was profoundly humbling.
During their acceptance speech, Wolf Alice turned the spotlight onto a critical issue: the vanishing grassroots music scene. Frontwoman Ellie Rowsell powerfully echoed findings from the Music Industry Trust, revealing that 30 UK venues had closed in the previous year, resulting in 6,000 lost jobs. It was a stark reminder of the fragile ecosystem that nurtures emerging talent.
For Joel, the independently-run Boiler Room in Guildford was more than just a venue; it was a formative experience. He remembers countless gigs, the essential mistakes made in front of small, accepting crowds. These spaces weren’t stepping stones to Wembley Stadium, but crucial proving grounds where a band could truly find its voice.
“Grassroots venues are your best friends,” he emphasizes. “They allow you to experiment, to fail, to grow.” Protecting these spaces isn’t just about preserving music; it’s about safeguarding a vital part of the cultural landscape. He believes this support should extend to schools, recognizing music’s profound impact on mental health and personal development.
Wolf Alice will soon grace the stage of the Royal Albert Hall for the Teenage Cancer Trust shows, curated by Robert Smith of The Cure. The invitation wasn’t a formal phone call, but a spirited email – penned entirely in capital letters – a testament to Joel’s enthusiastic admiration for Smith’s songwriting and vocal prowess.
The opportunity feels monumental, a confluence of a worthy cause, an iconic venue, and the chance to create something truly special. They’re determined to deliver a performance that transcends expectations, a unique experience distinct from their recent BRITs appearance. Joel fondly remembers attending the Hall as a child with his mother to see Cream.
Their momentum shows no sign of waning. A packed schedule of festival dates and a global tour are already confirmed for 2026, and the band is already brimming with ideas for new material. The gap between albums *Blue Weekend* and *The Clearing* wasn’t intentional, but allowed the new work to evolve and deepen.
Joel credits their label’s unwavering support for allowing that creative space. He feels a constant pull towards evolution, a desire to push boundaries. Touring doesn’t stifle that impulse; instead, it fuels it. The band’s collective drive remains strong, a shared commitment to continuous creation, born from pure enjoyment.
Wolf Alice’s Teenage Cancer Trust show, featuring special guest Nilufer Yanya, promises to be a memorable event. It’s a chance to give back, to inspire, and to reaffirm the enduring power of music – a force that has shaped their lives and continues to propel them forward.
