(photo credit – Mike Massaro: Hello Content)
Gunnersbury Park has become an important part of the summer live music calendar. A diverse range of headline artists take over part of the park for their own mini-festival each year, and today it was the turn of London heroes, The Libertines.
Billed as The Libertines’ Festival, there were five impressive support acts to entertain early arrivals. What was particularly noticeable was the energy and enthusiasm from the crowd for each of the other bands on the bill. Often, the warm-up acts at London day events can be lost to chatter and uninterested crowds, but that was not the case today. Of course, that is largely down to the strength of the individual performances but also testament to The Libertines’ crowd. More than just a trip down memory lane, there was a community of music lovers here to appreciate live music and have a great time.
Dutch post-punk band Real Farmer opened up at 2pm with a passionate and frantic set, which paused for bassist Marrit Meinema to read a Palestinian poem. The previously lively crowd immediately hushed and gave the moment its full attention before the dancing resumed. This was the first of many points over the day where the crowd demonstrated they knew when it was time to be quiet and listen, and when it was time to mosh. I would suggest that this stems from being a Libertines fan; the band are known for their ramshackle energy and chaotic shows, but simultaneously for their tender moments and socio-political commentary. Their ethos has created this engaged and spirited audience.
Lambrini Girls followed with a typically vivacious set. The band have cut their teeth at various festivals and support slots over the years and are able to come out swinging from the first second of “Big Dick Energy.” Their brand of riotous punk is perfect for this show, and there are plenty in the audience already donning their merch; I rather suspect they sold a lot more after this performance.
Hak Baker may have grown up in sunny East London, but he’s a perfect fit for this sunny day in West London. His infectious personality, combined with a winning blend of folk, ska, and reggae, proves to be a crowd pleaser. He may have overrun the scheduled set length, but Peter Doherty—who has been visible for much of the day, selling copies of his poetry pamphlet for £20 cash from the stage—emerges from the wings to grant him permission to play a further song.
A new album and name change appear to have reinvigorated Soft Play. The duo are playing like a band who still need to win people over, despite a crowd full of fans already singing along to every word and wearing their T-shirts. More than half of the set is from their recent album Heavy Jelly, and the set is better for it—varied and rowdy, interspersed with delicate moments like “Everything and Nothing,” probably their finest song.
Doherty returns to introduce the special guests, Supergrass. He relays an endearing anecdote about the importance of Gaz and co. to The Libertines and the full-circle moment of them now playing together. By now, the crowd has swelled to headliner size and people are clearly very excited about seeing the reunited ’90s legends. It’s a flawless live set, perfect for festival stages. They have been celebrating the 30th anniversary of their debut album I Should Coco and play seven songs from it tonight, which are all well-received. A selection of their greatest hits make up the rest of the set, and the audience goes wild for “Moving,” “Pumping on Your Stereo” and “Sun Hits the Sky” in particular. “St. Petersburg” was especially enjoyable—overlooked at the time of its original release, it’s become a late-blooming favourite and displays the breadth of Supergrass’ sonic ability.
There has been a DJ on stage playing mostly indie disco anthems between all of the sets, which has really helped to create a feeling of celebration and maintain a fun atmosphere all day long.
It’s not been difficult to see The Libertines live in recent years, especially in London. Despite this, there is obvious excitement throughout the 20,000-strong crowd. Whether this is their first or fiftieth time seeing them, everyone is almost giddy with enthusiasm.
As is common at the band’s shows, a reading of Siegfried Sassoon’s WW1 poem Suicide in the Trenches begins proceedings. The band emerge, are greeted like heroes, and immediately rip into the title track of their debut album Up the Bracket.
Libs shows are notoriously rowdy, but their audience has calmed over the years; tonight, the crowd is enthusiastic and involved without being overbearing. Upbeat classics like “What Became of the Likely Lads” and “Boys in the Band” receive the same rapturous reception as more delicate moments like “What Katie Did” or “Music When the Lights Go Out.”
It’s still a thrill seeing Peter Doherty and Carl Barât interact with each other—the pair give the crowd exactly what they want, sharing mics and exchanging playful looks.
What is especially interesting is how well the band’s recent material fits into the set. For many bands of their era, newer songs might be considered bar or toilet breaks, but this audience isn’t just here for the nostalgia. Eight songs are played from their recent chart-topping LP All Quiet on the Eastern Esplanade, and they really cement The Libertines as a going concern. “Night of the Hunter” and “Shiver” show off musical diversity and impressive songwriting, “Baron’s Claw” allows Peter to be a theatrical frontman, and “Man with the Melody” has all four members facing each other in a manner which makes us feel like we are spying on them rehearsing—it’s an impressive moment of intimacy in the centre of a vibrant and well-attended outdoor festival show.
It really ought to be made clear what a formidable live force The Libertines are. They are still enjoyably rough around the edges, but there’s a new, disciplined professionalism that has come with years of playing. All four members—Pete, Carl, John and Gary—still appear to be enjoying themselves and give the same energy to 20-year-old songs as they do those from last year.
An unbeatable encore featuring “What a Waster,” “Gunga Din,” “Time for Heroes” and “Don’t Look Back into the Sun” pushes the excitement levels in the crowd to their limits. People are on shoulders, arms around each other, some tearfully singing to their friends while others are beaming, looking at the band they have loved for more than two decades.
The Libertines delivered a thrilling and tumultuous mix of songs new and old and, against all the odds, they are better than ever.
