Nowadays reunions are all the rage. It seems the case that as a band breaks up, we are immediately subjected to an almost prophetic insight that 20 years or so down the line they will rise from the ashes of a once respectable career, and bombard our nostalgic ears with the no not-so-greatest hits and of course, the inescapable ‘new material’.
However in 2004 when The Libertines exited left as shambolically as they had entered just two years earlier, no such secure future was on the cards. Well- documented downfalls, independent careers and twelve years go by, and yet against all the odds the boys in the band are back and getting along again.
The start of 2016 brought Peter, Carl, John and Gary their first ever arena tour, and was- perhaps unsurprisingly- met with somewhat divided reactions. Some were simply glad to see their favourite band back on the road after the success of September’s ‘Anthem’s for Doomed Youth’, some claimed they were losing the intimacy they were once famed for, whilst others doubted their ability to fill such vast stages. Quietly but undoubtedly the four piece quashed the doubts of the latter through various triumphant festival appearances throughout the summer, and even those with concerns of scale duly bought a ticket, even if just out of curiosity. By the New Year preparations were well underway, support had been booked and the stage was set.
Filing into Nottingham’s Capital Fm Arena, I have to admit I had a few reservations myself. The burly security, row upon row of uniform plastic seats and advertising boards; it didn’t seem all the authentic- all that Libertine. Nevertheless, over the next two hours the place filled up and, namely in the standing area, the unmistakable sense of rowdy anticipation and lager-fuelled excitement rose to a level that has become synonymous with The Libertines’ crowds. Not even a tedious-at-best slot from Sleaford Mods (the highlight of which was glimpses of Peter strolling around side stage) could dampen the raucous atmosphere.
Upon an entrance soundtracked by Bowie’s Diamond Dogs, there were a few obligatory waves and tipping of trilbies, before they crashes into third album opener, Barbarians. The following set was unlike any I had heard before, from this band or any other. It was a sequence of beautiful contradictions- the heartfelt interlude of slower ballads (including fan favourite You’re My Waterloo), the old favourites still sounded as raw and charming as the demos, but unlike those days, this was a band of showmen, they were rehearsed in the most spontaneous way, and perhaps most strikingly, they were undeniably at home. Even my earlier queries of venue rapidly subsided, as the interactions between fans and bands, and their typically no-frills approach somehow managed to conjure memories of a small pub gig, as opposed to a 10,000 capacity extravaganza.
As the drums began on finale song Don’t Look Back Into The Sun, they were echoed by the stampede of thousands of rejoicing bodies. A real sense of celebration swept through the place, and as uncountable crowd surfing strangers were passed over my head, it occurred to me the sheer impact that this often overlooked band has. The personable lyrics and characters often lead you into the lure of false elite individualism, but in moments such as that you realise in fact you are one of many, and a sense of community that seems so badly needed these days was hauled out of us all.
The Libertines have never been a band to shy away from a challenge or lack that English stoic pride, and it is clear to see that sense of camaraderie transposing onto fans. This is a band held together by more than just music, their influence and ideals have inspired strength of hope and unfaltering belief, especially in times where the tabloids claimed there was none. It is because of this I can safely say that although it has sailed some rough seas and grazed the rocks in the last few years, the weathered yet never wrecked Good Ship Albion is surely back on course.
-Briony Warsop
Setlisted 