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Every generation has the guitar band that unites them. For those that came of age in the early 2000’s, they had two, the lucky buggers. The Strokes kicked it all off at the turn of the century, and almost directly following in their footsteps were London’s very own The Libertines. A band that basically took the no-nonsense, year zero attitude of the New York City natives and gave it a twist of English romanticism and Dickensian decay. The influence of The Libertines spreads further than practically any of us can comprehend, least of all the band themselves, and it all began with the meeting of the bands frontmen, Pete Doherty and Carl Barât.
Barât was studying for a drama degree at Brunel University, where he was a classmate of one Amy-Jo Doherty. The two became friends and on one fateful occasion that Barât came to Amy-Jo’s flat to visit, Amy-Jo’s little brother, Peter, had come to visit at the same time. The two struck up a friendship based on their shared passion for songwriting, literature and poetry, and soon after they met they both dropped out of their university courses. The duo had become very close very quickly, and they decided to move in together, renting a flat on Camden Road that eventually became known as The Delaney Mansions.
The first line up of The Libertines would be the two of them and their neighbour Steve Bedlow (a man who would later pick up the nickname Scarborough Steve), but later picked up John Hassall to play rhythm guitar and some no-hoper called Johnny Borrell to play bass. The first incarnation of the band were soon playing live anywhere that would have them. In March 2000, they met with Banny Poostchi, a lawyer with Warner Chappell Music Publishing who saw the masses of potential that most people missed in the band, and began to manage them.
Unfortunately, by December of the same year it looked as if the band were going nowhere fast, so Hassall, Pootschi and their drummer John Dufour left the fold, leaving Pete and Carl alone. Fate was on their side though. With the massive hype around The Strokes quickly becoming the music story of the year, Pootschi reconsidered and put a plan in effect to get the band signed to Rough Trade Records in six months flat. She replaced Dufour with Gary Powell, and after it was became clear that Borrell couldn’t be counted on to turn up to rehearsals, John Hassall was convinced back into the fold to play bass instead.
During this time, Pete and Carl were writing feverishly, with the songs that would eventually make up their debut album mainly being written around this time. Pootschi’s plan worked and the band were signed to Rough Trade on December 21st 2001, ringing in the new year playing support slots with the aforementioned Strokes and Australia’s The Vines. The band started to pick up admirers in the music press, especially in the NME, and shortly after the release of their debut single “Up The Bracket”, it was time to record the album. With The Clash’s Mick Jones on production duties, “Up The Bracket” was immediately hailed as a classic by pretty much everyone who heard it, and support slots with the likes of Morrissey and the Sex Pistols soon followed.
By 2003, the band were becoming infamous, known as much for Pete Doherty’s worsening drug addiction and erratic nature than for their actual music. The story of the band becomes a horror show at this point, with Pete and Carl’s relationship being tested to its limits while Doherty refused to stop associating with deeply shady characters and enablers who wanted a slice of the fame and notoriety that followed him around wherever he went. By the time their second album was released, seeing the band live was something of a gamble, as it was just as, if not more likely that the band would play without Doherty than with him. The tabloids had gotten hold of the band at this point, and “Potty Pete” became something of a fixture with them that would continue until way after the decade’s end.
The band were still undeniably special, their UK tours at the end of 2003 and the start of 2004 were heralded as some of the best gigs of the year, and their second, self-titled album was another instant classic. They were finally starting to see some commercial success as well, with their second effort’s lead single “Can’t Stand Me Now” hurtling into the number two spot on the singles charts and its follow up, the prophetically named “What Became Of The Likely Lads” peaking at number nine. By this point however, the band was as good as dead. Doherty was in and out of rehab, missing gigs, promotional duties and recording sessions. Barat couldn’t in good conscience keep going as The Libertines without him, and called time on the band in 2004.
A Libertines reunion was treated as an impossibility for the rest of the decade, until in 2010 when the band were revealed as the sub-headliners of that years Reading And Leeds Festivals. The celebrated show was thought to be a one off until 2014, when the band again announced they were getting back together to headline Hyde Park. This wasn’t to be a one off, and after playing three sold out nights at Alexandra Palace in the following September, the band announced that they’d signed a record deal with Virgin/EMI Records. The band are unquestionably back, and with one of the best British bands of their generation making music again, what comes next is an impossibly exciting prospect. Highly recommended.
Avaliações ao vivo
I went to see the Libertines play a headline slot at Hyde Park this July despite lots of doubt as to if they could pull off their biggest show ever. They have an uneasy start with ‘Vertigo’ and things didn’t go that much better when they went into ‘Boys in The Band’. They had to stop and start the song due to crowd troubles and from where I was, in between the gaps all I could hear was the chant ‘Jump the fence’. A random bloke managed to jump the barriers to get to the priority area closer to the band. More and more blokes were trying this and managed to avoid security, soon it started to empty out so we just went for it and got over for the ending of boys in the band which is when the concert started to go uphill. With an ever so slightly better view, I got to witness The Libertines perform with their Sex Pistols-esque approach to music. After a short run together and only 2 full albums who would have thought that The Libertines would get over 60,000 people singing back every word of ‘Music when the lights go out’ just as the sun set over Hyde Park. You know you can always expect to have a good time filled with chaos and drama at a Libertines gig. Towards the end, Pete and Carl had to stop half way through a stripped down version of ‘France’ as some fans had decided to climb onto the delay tower. As the show came to a close, Pete and Carl recited Siegfried Sassoon's 1918 poem, Suicide In The Trenches. Then the four band members gathered in a line to salute their fans, Doherty began the hokey cokey while Powell told them: "You are all amazing and you are all Libertines." Only all of this could happen at The Libertines gig.
CiaraZM
What a show, really. Barrier not the best if you'd like to leave with all your limbs intact, but just as good from anywhere else, if not better. Loud guitars and sexual tension, all you need in a band, and what a fantastic live act.
The band have a turbulent history, with loud personalities clashing over the usual (read: drugs) seeing them split in 2004. They had a few comeback shows in 2010, but it wasn't to last, falling apart as quickly as it came together- but this is something new. There's an air of reconciliation, but also sparks of passion as the two frontmen (Peter Doherty and Carl Barât) share a mic to belt out what is essentially their greatest hits, but considering they only have two albums and a load of bootlegs there isn't much to choose from.
One thing is for certain at a Libertines show: the crowd will feel the same passion as the people onstage. Expect shouting and singing and pushing and jumping and a very, very full medical center. Despite this, it's impossible not to feel at home when Pete and Carl are working their magic up on stage. It wouldn't be fair to write a review without mentioning drummer Gary Powell and Bassist John Hassall, who work together to propel the show onward at an astonishing rate, sets reaching upwards of twenty songs in length, adrenaline fuelling everyone til the very end.
Oh, and watch out from above - you won't know if it's beer or urine til it's too late.
honor-louise
The Libertines reformed recently to play a riotous set for British Summer Time at Hyde Park.
Ending with Carl and Pete hugging each-other to oblivion until both fell to the floor of the Hyde Park stage, The Libertines played out a triumphant 24 song long set. Pre-performance Pete paid tribute to "Those who gave their lives for liberty" by saying to the rampant crowd "We remember and honour those who gave their lives for liberty. We thought it was nerve-wracking coming out here tonight but leaving Kings Cross station with a rifle across your back in 1914 must have been really hard."
Despite continuous interruptions from the crowd, such as crushing of spectators and the climbing of sound towers, which caused the band to halt their set on a few occasions after security took to the stage forcing the set to temporarily stop, Pete pleaded to the crowd "We can't carry on if you don't calm down a bit." Calm down the crowd didn't, carry on The Libertines did and emphatically to that matter. Highlights being, 'Boys In The Band,' 'Time For Heroes,' 'Can't Stand Me Now,' 'Up The Bracket,' 'What A Waster' and 'I Get Along' which all sent the crowd into a frenzy, like each song from their 24 song-long set-list did in fact. After an eventful evening in Hyde Park, it's fair to say, The Libertines are back.
cgireland
I was disappointed by this show (Zenith, Munich)
To start with, the sound quality was awful. Not sure wether it was venue acoustics or sound engineering, but it was just painful to listen to. You could hardly hear the lyrics, guitars and drums were way too loud and saturated, bass inaudible.
Then, there was very limited interaction with the crowd, they just went through the setlist without saying a word in between. Pity...
Finally the amount of mistakes and missed notes was embarrassing.
This is the first time I attended a concert this size and wanted to leave half way through. Next time I'll spend my money on another band.
steelandbrickandwood
As good as it gets. After an eleven year Berlin absence last night's Libertines concert summoned 7000 fans of the band's heydays to Arena in Treptow. Pete Doherty as well as Carl Barât were doing very well together, each one of them giving a solo recital in-between. Although sound quality was quite appalling the band was performing at a pretty high level coming down handsomely to almost two hours of popular Brit punk. A new album is rumored to be recorded right after their tour.
AlexLowe
Awful show yesterday night in the Columbiahalle in Berlin. Overpriced, bad sound and very sloppy performances. I could barely recognise the songs. The show included 3 opening bands, I didn't enjoy most of them, but sadly The Libertines delivered the worst performance of all. Very disappointing.
diegoto77
Brilliant, funny, excellent. A lot of interactions with the audience, a lot of improvisation and... a lot of talent. Never miss them : real musicians having fun on stage.
It lasted two hours, only songs of the Libertines with a Marseillaise interspersed
sk-48546895573695980
I love the Libertines. Great to have been to a concert. Yet, why is there such a difference in sound when going to concerts in Paradiso? This time it was aweful especially the voices could hardly be heard and sounded like a wall of noise.
muziekfreek
An awesome show with running and jumping on the stage, throwing beer and guitars, and brilliant music of course!
The Libertines are truly alive and enjoyable! The crowd jumping and dancing and singing out loud is the best prove this.
gratzhess
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