Wallows at Alexandra Palace, London confirms they are – and always were – destined for arenas

‘Model’ was built with big rooms in mind.

Words: Abigail Firth.
Photos: @/cloudyytots.

Anthems are Wallows’ lifeblood, and for their debut headlining slot at London’s Alexandra Palace, they make sure you know it. 

First taking to the Great Hall stage in 2019 as the opening act for heroes Vampire Weekend, it was always certain they’d headline it themselves one day. Back then, they’d recently released their debut album ‘Nothing Happens’, which, thanks to its wide-eyed ambition and surplus of indie earworms, still makes up a considerable portion of the ‘Model’ tour set.

Kicking off with that album’s closer ‘Do Not Wait’ behind a white sheet, it drops to reveal the band as ‘Model’’s opening track ‘Your Apartment’ fires up, making for a direct comparison between the band they were last time they played this stage and the band they are now. 

‘Model’ was built with big rooms in mind, and you’re reminded of that every time one of its tracks arrives, but there’s something to be said for how well even the pre-debut-album tracks work here. ‘Scrawny’ hits just as hard as ‘Anytime, Always’ preceding it, and even earlier tracks like ‘These Days’ from 2018’s ‘Spring’ EP make for massive moments. 

Considering the size of Ally Pally and the ferocity of the audience, it’s hard to believe the boys would attempt walking through the crowd to get to their B-stage, and yet frontman Dylan Minnette makes his way through the thousands across the floor, performing ‘She’s an Actress’, with a train of phone flashlights following him as anyone in his vicinity tries to get a glimpse. The same happens to Braeden Lemasters after the B-stage set as he makes his way back while doing one of his ‘Model’ solo tracks, ‘Going Under’.

It’s moments like this, and the intervening B-stage set, that keep Wallows connected to their audience, as the ‘Model’ tour sees them play their biggest rooms yet. The small stage in the centre of the Great Hall is set to replicate the album’s cover, and serves as a place for the band to do their own Eras tour style fan favourite acoustic section; ‘Drunk on Halloween’ and ‘1980s Horror Film’ do just that, but it’s the call and response bridge of ‘Pictures of Girls’ that demonstrates their remarkable foresight for crafting perfect live songs.

That’s emphasised when they return to the main stage for the final act. ‘Remember When’ is the ultimate festival anthem, obviously going down an absolute treat in the UK, while ‘I Don’t Want To Talk’ with its additional harmonica and endless confetti that confirms Wallows are – and always were – destined for arenas.