A Tuesday afternoon in June saw my family and I pile into the car, headed for the winding country lanes of Cornwall that led us to the unmistakable greenhouse domes of The Eden Project. It’s one of the UK’s most unique concert venues, nestled amongst lush tropical gardens and Mediterranean landscapes. Even before a single note was played, this gig felt like a special one.
The weather, however, had other ideas - its unpredictability this evening was no exception as moments of hopeful sunshine were immediately put to sleep by the thick Cornish fog, and then replaced by rain as everyone piled into the arena.
Poised with my camera beside the photo pit awaiting support band Girl In The Year Above’s set, I watched the crowd for interesting characters that would be good to capture in an image. I noticed a wonderful variation of younger fans mixing alongside those who have followed Wolf Alice from the very start. At the barrier, diehard teenage fans proudly sported Just Two Girls and limited edition Eden Project merch, excitement building.
Support act, Girl In The Year Above, took to the stage with a dreamy indie rock sound that warmed up the steadily growing crowd. Frontwoman Jennifer Ball wore a custom Minski co-ord that combined Cornish and Irish tartan, a nod to the band’s heritage, while she commanded the stage with stunning vocals that reminded me of The Last Dinner Party’s Abigail Morris. After the gig, I saw plenty of comments online from fans, saying that Girl In The Year Above will be headlining the iconic domes in a few years.
With the crowd warmed up, Wolf Alice took to the stage to the claps of Bloom Baby Bloom, followed by White Horses and Formidable Cool. Those first few tracks are a photographer’s dream to be in the pit for - a balance of immediate anthemic energy, a dip for a quieter moment for atmospheric shots, rounded off by a commanding performance combined with dramatic lighting that highlighted the intensity of the track.
Back in the crowd now, fans of the 2021 album Blue Weekend were particularly in luck, as the setlist leaned heavily on the acclaimed album. Fittingly, the gig happened to fall on the fifth anniversary of its release, making the selection feel like a subtle celebration of one of the band’s defining records. Midway through the set came a stunning three-song run of tracks from the album - moving from the dreamy introspection of Delicious Things, to the vulnerable Lipstick on The Glass and finally exploding into fierce confidence with Smile. Together, the trio showcased the emotional range and the depth that Blue Weekend has to offer five years on.
Following that sequence came my personal highlight of the night: Bread Butter Tea Sugar. Everything clicked perfectly - Ellie’s vocals were effortlessly captivating, Joff’s guitars shone at just the right moments, and the rhythm section locked everything together with uncanny precision. This happy song was abruptly interrupted by piercing red and blue flashing sirens and the return of Ellie’s iconic megaphone, with an epic performance of Yuk Foo that went straight into Play The Greatest Hits. The set was brought straight back down with a captivating delivery of Silk and really encapsulated just how much varied talent this band has, never losing their momentum.
If I had one criticism, it would be the lack of songs from their latest album. I missed tracks like Thorn, Passenger Seat and, my personal favourite, Play It Out. That said, it’s hard to complain when a band has built such a strong discography over the past decade.
The backdrop of The Eden Project elevated Wolf Alice’s performance - a balance of delicacy, atmosphere and explosive bursts of energy against this Cornish setting enhanced the experience of seeing them live, further establishing them as one of the UK’s best bands at the moment, without a doubt.
Words and Pictures by Anna Leader ©
