Wolf Alice at 3Arena, Dublin on Wednesday, December 10th, 2026

Time can change anything. It can turn a glacier to a valley, a sun to a white dwarf, or even turn a shy, shoegazing front woman into a stage-prowling, confident performer. Wolf Alice crashed into town hot on the heels of storm Bram. Said storm gave their crew a tight task of doing 9 hours of work in 3 to get the show up and running. After witnessing the show they were preparing, we’re very grateful for their efforts.

It’s been a number of years since this reviewer has seen Wolf Alice live and they’ve evolved. Always a well-oiled machine, this latest incarnation is engineered for larger spaces. There’s choreography and markers to hit. A decade ago I don’t think any of us would have imagined them supplementing their show with wind machines, sparkling backdrops,  and revolving platforms; but here we are nonetheless. 

It matches the blueprint of a pop show but in the guise of a rock band. They’ve not gone full pop but the inclinations are there. This machine is well rehearsed but never sterile. We’re eased into proceedings with album opener ‘Thorns’. With its rocking piano line and shuffling drums, it bubbles but never boils; but the meandering pace doesn’t last as we’re straight into album standout ‘Bloom Baby Bloom’. It takes off like a rocket with Ellie Rowsell giving a masterclass in vocal acrobatics. A lesser band might trepidatiously put such a song on their album with no intention of playing it live. 

Thankfully this isn’t the case and we’re treated to a note perfect rendition. It’s a song that acts as an excellent calling card for the entire outfit. Ellie gets to display her ambitious vocals, guitar player Joff Oddie does his best to squeeze in as much shredding as possible into short breaks, whilst the rhythm section of bassist Theo Ellis and drummer Joel Amey lay down a foundation solid enough to stabilise the altitudes of their bandmates.

The proceeding 90 minutes whizz by in a flash with very little let up in this dynamic set. Slower, more reflective moments like album closer ‘The Sofa’ and ‘Safe in the World’ don’t lose any patrons to the bar as the relentless energy slips into a lower gear.

We’re not proceeding cautiously for too long though as the one-two punch of ‘Yuk Foo’ and ‘Play the Greatest Hits’ instantly ignite. We’re a sucker for vocals through a megaphone (we’re looking at you Bono and Bullet The Blue Sky) so when Ellie emerges from the tasselled backdrop with megaphone in full siren mode you know it’s going to be intense. 

They’re a difficult band to gauge their most popular song but based on audience reaction, there’s a strong case for ‘Don’t Delete the Kisses’; tonight’s closer. It’s another incarnation to this chameleonic London quartet. Its reflective lyrics and subtle propulsion connect with most in attendance. Aided of course by easily belted, arm over a friend’s shoulder nature of the chorus.

So they’ve done it. They’ve continued to climb the ladder; doing it on their own terms. With a marker in the sand like tonight we won’t be surprised to see this London-quartet headlining Worthy Farm when Glastonbury returns in ‘27. They’d be a very worthy addition.