As we dive into ‘Unstoppable’, the track’s highly hypnotic character and its extensive cinematic allure firmly grab our attention. Penned by producer Night Wolf and singer Lois Powell, the record is a whole mood, a slice of epic aural goodness drenched in orchestral tones and elegant trip-hop euphoria. The overall intensity rises constantly through the piece, eventually exploding into a triumph of vocal harmonies and choir-like samples. An underlying acoustic guitar echoes itself drenched in a sea of reverb, while decadent violins slowly take ‘Unstoppable’ to a close.
Oscillating between classical elegance and modern broodiness, ‘Unstoppable’ marks one of the latest efforts by the talented British pair. Powell and Night Wolf have been collaborating for a while, with previous releases including ‘Death of the Wolf’ and ‘Lost My Way Home’, all sharing a keen soundtrack-esque ethos, partly due to Night Wolf’s production work as a producer and composer across the TV and film industries. It’s also well complemented by Powell’s stunning vocals and anthemic delivery. She’s the real deal.
‘Unstoppable’ is out now via Night Wolf’s own label EscaVolt Records. Intrigued by the record, we have caught up with the British pair to learn more about their collaboration and wider artistry… interview below!
Hi, Night Wolf and Lois Powell, thanks for chatting with us! 🙂 First of all, I’d be keen to know how the collaboration between you two came about? Would you say you have found a strong creative alchemy?
Lois Powell: Hi! Yes, I would describe our collaboration as an unexpected and powerful journey together.
Night Wolf: Hi there! Lois and I first met in a local bar in Bedford, where Lois was performing at an open mic night. At the time, I was looking for a female singer to interpret a song I had already written lyrics for, ‘Lost My Way Home’, after reminding myself how much I don’t like my own voice. I was just lucky to find Lois that night, and she agreed to visit my studio and try the song out.
In truth, I already had a general idea of how I wanted the record to sound, so on that occasion, Lois did not have a lot of creative input! I was also in the process of soundproofing my home studio, and I only had a cheap microphone and a laptop set up. Everything is now back in place, though, and the other two singles we did together featured a much more collaborative creative process.
‘Death Of The Wolf’ was something I had started on whilst going through a very difficult time in my life. I had written the first verse of the lyrics, but I kept getting stuck on the rest of it. Lois took those lyrics and then created her own verse and finished the song. It has now become one of my favourite pieces we have created so far, it really relies on heavy orchestral and cinematic dark pop vibes, truly haunting.
‘Unstoppable’ was the first song where Lois had full rein over her creativity. She’d sent me some voice notes not long before of her playing guitar and singing, and there was this riff that kept coming up that I really liked. I could instantly hear drums and strings building around it, so I asked her to come to my home studio and record it.
We built ‘Unstoppable’ in an afternoon, looping and processing the guitar, then extending the track so Lois could do multiple vocal takes. After that, we sliced things up, kept what worked, added harmonies where we heard them, and I was left with a stack of vocals to shape into the final song. It naturally led to a big climax at the end. Then we created our fourth song together, ‘The Laws of Life’. I truly believe our best work is yet to come!
Night Wolf, exploring your website and online profiles, it’s obvious that you are a very busy bee, and certainly know how to market yourself and look for opportunities. When did music become a career for you? Did you have any formal training beforehand?
Night Wolf: It’s all hands on deck for me right now. After working with Flipper Music, I recently decided to go out on my own and have launched my label, EscaVolt Records, as a platform to showcase my work, collaborations, and the artists I work with. I’ve also rebuilt my website to host my back catalogue and new releases, which are now available for leasing or bespoke commissions for film, TV, and games.
At the same time, I’m learning how to promote and market everything myself. So far, we’re seeing strong streaming numbers and growing interest, which is encouraging. I’m also developing a sound effects and foley company, No Paw Audio, with multiple packs set for release this year, alongside content for social media and YouTube, plus short videos and music videos to support recent releases.
I started seeing music as a viable income stream around 2014 after landing my first film trailer, but it wasn’t until 2018, when I began working with Flipper Music, that things really gained momentum, leading to nine albums with them. Aside from early piano and drum lessons, I’m largely self-taught, having developed my sound over time. I’m now planning to return to piano grades as a new personal goal.
Lois, I’d like to praise your vocals on ‘Unstoppable’: luscious, hypnotic, and perfectly fitting the track’s cinematic and anthemic production. Where does your artistic talent come from? Has music been a fundamental part of your upbringing?
Lois Powell: I got into music during an illness in my teens. I played for many hours a day and used singing as a coping mechanism.
Lois, between the singles you have released with Night Wolf so far, is there a favourite? Or one that holds a special meaning to you?
Lois Powell: Well, if I’m feeling moody, I very much like ‘Death Of The Wolf’. If not, ‘The Laws Of Life’ is very pleasing on the ears.
Night Wolf, you have built an extensive career in the sync and publishing industry, with a whole lot of credits to your name. How is that going, and how did you get there?
Night Wolf: I’m proud of what I’ve achieved so far and the opportunities my music has had. My work has been used by major organisations and platforms, including the MLB, NFL, Netflix’s El Club and Hollyoaks, and the Red Cross, among others. I’ve spent a long time pushing for placements like these, always focusing on creating moody, orchestral-leaning music. I was fortunate to work with publishers who allowed me to create freely and submit what I felt best represented my sound.
Not everything gets accepted, though, and persistence is key: you have to keep pushing, get your music into the right hands, and build relationships through networking and connecting with music supervisors in your target areas. I started making music at a very young age, getting my first drum kit at three and later learning piano up to around grade three or four before focusing on creating my own material. My first workstation was a Roland Fantom X6, where I learned to produce without a computer, only moving to a DAW around the age of 19 or 20.
Growing up, I played in rock bands and jammed with friends, but I was always driven to create my own music, writing songs and lyrics at home from an early age. I was first signed to a start-up label called Fly Productionz in Swansea, before being approached by The Music Jar, who secured my first film trailer placement with The Essex Boys Retribution, featuring two of my tracks, including one collaboration with producer Centrist.
After some time away travelling, I was later approached by Flipper Music in 2018, as mentioned earlier. From there, I then transitioned to my own outfit, EscaVolt Records. For anyone looking to get into this space, I’d recommend researching music libraries, going to networking events, promoting your work, and continuing to create.
You are actively looking for other collaborators, am I correct? Will you be releasing exclusively on your label, EscaVolt Records, going forward?
Night Wolf: I’m always on the lookout for new artists to collaborate with, but right now I’m focused on putting a lot of things in place behind the scenes before returning fully to the creative side. Once everything is set up, I’ll be looking to release music with collaborators through EscaVolt Records, handling promotion, marketing, and aiming for placements in TV, film, or games. I’ll also continue submitting music to selected libraries under non-exclusive terms, while experimenting with my own approach.
I’m interested in revisiting some older material too, potentially recording live versions with past collaborators to bring new attention to those works. For now, I’m focusing on building a solid foundation, but I’ll definitely be opening up to new collaborations again when the time is right, including with artists I’ve worked with before. I’d also love to collaborate with an orchestra, and I have some ambitious ideas for a music video for ‘Death of The Wolf’. Music videos are the next step for EscaVolt Records, helping to visually expand the stories behind the music we’ve created.
Night Wolf, this question is for all the tech heads out there. What’s your audio setup? Do you work with any analogue gear? What’s your creative process like?
Night Wolf: I’ve had several studio setups over the years, but nothing compares to what I have now. That said, it’s still relatively minimal, and I’m close to reaching a point where I’ll feel fully content with it. I’ve built a selection of microphones, including specialist gear for sound design like geophones, contact mics, shotgun mics, and devices for electromagnetic and ambient recordings.
Since returning to the UK, I’ve been gradually rebuilding my studio. My current setup includes an Arturia KeyLab 61 MIDI keyboard, a Korg NanoKontrol for articulation, an SSL 12 audio interface, and Kali Audio LP-8 monitors. I also use Audio-Technica M50x and DT 770 Pro headphones, and for vocals, a Shure SM7B running through a Cloudlifter. My DAW runs on an MSI laptop.
I own a range of instruments and a growing collection of plugins and VSTs that I regularly return to, although I do enjoy experimenting, probably a bit too much at times. In the past, I worked more with analogue gear and still love its warmth and hands-on nature, especially with synths and effects units. I’d eventually like to build my own sound devices, and I could easily spend all day in a music store exploring new gear. At the same time, I think too much equipment can become clutter, both physically and mentally, so I try to keep things balanced.
For now, my setup does everything I need, and I’m enjoying learning how to get the most out of it. Creatively, my process is driven by how I feel before I start. I tend to gravitate towards more introspective moods, which naturally feed into the kind of music I make. I’m constantly coming up with ideas and often record them as voice notes to get them out of my head, saving them for when I need fresh inspiration later on.
This is a valid question for both of you: What’s your opinion on the current state of the music industry, and how do you think it will evolve in the next five years?
Lois Powell: AI music will probably create a bigger push for unique and authentic artists. It could possibly make live performances more important, too, in terms of legitimacy. I am not sure really…
Night Wolf: If I’m honest, I’m not entirely sure what’s going on in today’s music industry. There’s an overwhelming influx of artists, now compounded by AI-generated music, and it often feels like everything is starting to sound the same, with less emphasis on originality or individuality. That said, there are still glimmers of hope, particularly in film and game music, where storytelling remains strong.
More broadly, it can feel like many people are chasing visibility over authenticity, leaning into content creation and trends rather than focusing purely on the music itself. I’ve had to accept that I need to engage more with social media too, but I plan to keep that focused on my releases and my work rather than turning my life into constant content. It sometimes feels like follower counts matter more than whether people genuinely connect with the music, with audiences waiting for algorithms to deliver what they should discover naturally.
I do think AI has its place in music, particularly within tools, plugins, and effects, but when it comes to actually creating songs, that should come from a human place. Otherwise, it risks becoming repetitive and impersonal. My concern is that if AI-generated music floods streaming platforms, it could make it even harder for real artists to be heard. Maybe I’m sounding a bit like an old-school voice, but it will be interesting to see where things go over the next five years.
Lastly, what’s next for Night Wolf and Lois Powell? What’s the plan for 2026?
Lois Powell: The plan is loose for me. But always follows the same patterns of making more music! I hope to push out a bit more with the live performances, too.
Night Wolf: A lot is happening this year, which is exciting. Our next release on EscaVolt Records, ‘The Laws of Life’, marks the fourth collaboration between Lois and me and has just been released! The track has also been selected as a BBC Introducing ‘Track of the Month’; They’ve already been supporting three of our four songs on their shows, and we’ve had additional radio debuts across more than 100 stations. We’re also preparing to start filming music videos for our recent releases.
Alongside that, we’ve been approached by a major publication regarding our next track, so there’s a lot in motion. I also have another single coming on 26th April 2026, ‘Kickback’, a collaboration between myself, Night Wolf, and The Fods, which will also be released via EscaVolt Records.
At the same time, I’m in the process of launching my sound design and foley company, No Paw Audio, with plans to release content and sample packs later this year. Beyond that, a lot of my focus is on the back-end work: promoting releases, radio plugging, and pitching both new and unreleased material to music libraries and supervisors for sync opportunities. I’m also working on more content for my socials to highlight my back catalogue, as I continue learning how to operate independently and take full control of my releases. Hopefully, people connect with what we’re building and enjoy discovering both the new music and the older material. Follow my socials and website down below to keep in touch!