Wolf Alice: In the Clearing
Since 2010, UK rockers Wolf Alice have been on the up and up. In 2017, ‘Don’t Delete The Kisses’ skyrocketed vocalist Ellie Rowsell, guitarist Joff Oddie, bassist Theo Ellis and drummer Joel Amey into stardom, a space they’ve thrived in ever since. Following the monumental release of their latest LP, The Clearing, Joel Amey jumped on a Zoom call with The Note to chat Laneway festival, writing records with restraint, favourite Aussie acts and their upcoming unmissable Adelaide show.
Interview Millah Hansberry // Image Rachel Fleminger Hudson
Many things in life are rare. The good kind has a way of catching you off guard. It’s this word, “rare”, that keeps on popping into my head during a late-night Zoom call with Wolf Alice’s drummer Joel Amey from the green room of the Ed Castle.
Bathed in a glorious bout of rare UK sunshine from a neighbouring window pane, Amey opens the call with a warm smile and bright enthusiasm, peering behind me to read aloud the names of bands adorning the gig posters on the wall. I laugh, explaining I couldn’t take credit for the cool music taste, and it opens up a chat about grungy venues and punk icons like NOFX, a band he shares that he loves, which none of his bandmates would have any idea about.
“You’re chatting to the right member of Wolf Alice for this,” he states.
“Indeed, we are,” I agree.
Revelling in the UK’s summer a mere few weeks out from their homecoming show at Finsbury Park, Joel admits the band are quietly buzzing. The show is special not only because of its location – an area where the band cut their teeth – but because it marks a new height for Wolf Alice, being the largest headline show they’ve ever performed.
“I’m super excited without having really processed it at the same time,” Amey smiles. “It’s a bit like Christmas. You’re like, ‘I’ve got time to buy presents,’ and then all of a sudden, it’s Christmas Eve and I’m in a petrol station trying to work out what to buy for an auntie or something.”
The timing of this major show is indicative of the huge moment Wolf Alice are having. The English rock four-piece have always been widely respected, evolving from 2013’s indiefolk scene into the Best Group winners at the 2026 BRIT Awards. But it’s over the past 12 months, Amey reflects, that has felt like “the biggest moment” for the band.
In 2025, they released their fourth album, The Clearing, following it up with countless headline shows across the globe, an upcoming Olivia Rodrigo support slot, and a spot on what feels like every single major music festival known to man, including Australia’s own Laneway festival.
“Laneway was fun. We always love going to Australia; there’s a lot of parallels between Australian and UK audiences. In terms of passion, Adelaide was right up there.
“I still think it’s a pinch-me moment. I feel very lucky that when we go to Australia, we have such amazing audiences that seem to understand and appreciate what we’re doing. Especially when, in my opinion, Australian music and the culture of bands and artists is one of the best in the world, right? Some of Wolf Alice’s favourite music comes from Australia.”
The fondness with which Amey talks about Australia comes across so genuinely. He’s not projecting the phony niceness so many acts scream out when they hit the stage. Because, seriously, how many cities would get the same “you’re the best fucking city in the world” speech from touring artists? This is something different. A genuine warmth, backed up by an encyclopaedic knowledge of the Australian music scene, that makes talking with this drummer so bloody cool.
Laneway, being a touring festival, not only allowed the members of Wolf Alice to connect with audiences from across our nation, but also the incredible lineup of artists on its bill.
“It’s crazy. I saw Wet Leg’s first ever gig and now I see them just destroying festivals. They’ve transformed into these iconic fucking rockstars. And Alex G is one of the biggest inspirations to all four of us. We saw them do a sideshow at the Sydney Opera House. Goosebumps.
“It was kind of like going to school camp,” Amey laughs, citing friendly encounters with PinkPantheress, Geese and Role Model across the festival as well. “And then on the very last day, everyone suddenly became less nervous and started talking to each other.”
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The album responsible for all these wicked festival appearances is their aforementioned LP The Clearing, a ‘70s soft-rock-esque record, boasting hits ‘Bloom Baby Bloom’, ‘The Sofa’, and ‘White Horses’. The record, their first release since signing to Columbia Records, is, as Amey puts it, “the most experimental thing [Wolf Alice] has ever done.”
The first three records, he explains, were made from piecing together their favourite songs, regardless of genre or theme. Whether that be “a two-minute synth punk track or, you know, ‘The Last Man on Earth’.” For this record, they set parameters for the first time to keep the album sonically cohesive.
“It was actually freer, in my opinion, creatively to sort of pick the palette you want to paint with before you go and actually get to the canvas. I used to get quite bogged down with like loops, I had to put synths on everything, you know, every space had to be filled, otherwise people wouldn’t take me seriously as a musician.” Amey pauses thoughtfully.
“The Clearing taught me the power of what you can do with a lot less, but still translate your message and be powerful.” And on ‘White Horses’, a track unpacking identity and family history which Amey fronts vocally, The Clearing also helped shine a light on the support the band have grown to hold for each other.
“Ellie is otherworldly gifted and yet the least selfish person I’ve ever met when it comes to metaphorically sharing the spotlight.” He smiles. “I feel very lucky that my mates are also my bandmates.”
Returning to Australian shores in early December, Wolf Alice are set to bring the house down every night with a curated assortment of their best tracks.
“Our ambition for the rest of the year is to surprise people,” Amey muses. “I think there can be an attitude of like, ‘I’m not going to play the ‘Don’t Delete The Kisses’ because it’s the biggest song.’ We’re playing fucking ‘Don’t Delete The Kisses’ wherever we go,” he smiles.
“We’ll dip into some oldies and stuff that people won’t expect. It’ll be a true celebration of the band as much as a celebration of The Clearing.”
Landing back onto the conversation of Aussie music, it takes seemingly no time for Amey to start listing his favourite acts. And the way he reels off not only Australia’s biggest exports, but some niche picks, is wickedly impressive for a UK rock heavyweight who lives on the other side of the world from us.
“Pond, I love. They’re just so special; I’m super buzzing for their new record. Love Bad//Dreems, the boys from DMAs, a band called The Prize, they’re really good. Nadine’s in a band with one of the guys from The Chats called Loose Lips, then Concrete Surfers from Brisbane are really cool, and obviously, Kevin Parker.”
Amey bites his tongue before spilling the Aussie acts slated to support Wolf Alice in December, but promises they’re good ones. And after listing those acts in a mere drop of a hat, we sure do believe him.
After a night chatting with Joel Amey, it’s easy to understand why Wolf Alice have built such a devoted following. They aren’t just bringing The Clearing to Australia, they’re bringing a genuine curiosity, excitement and love for the music and people that have welcomed them here time and time again.
Shutting the laptop and breaking into a smile, I’m reminded that this is what music is all about. Moments like this don’t come around often. Neither do bands like Wolf Alice. Do not miss your chance to see them.
Catch Wolf Alice performing at Hindley Street Music Hall on Sunday 6 December. Tickets on sale now via moshtix.com.au.
