There you go.
This is a site dedicated to the Libertines and their offspring. News, interviews, reviews, articles, pictures, videos and exclusives right here from the troubled world of the Babyshambles and Dirty Pretty Things (and, why not, Yeti).
gang of gin - babyshambles - 8 dead boys - loyalty song - the man who came to stay - up the morning - janie jones - the blinding - why did you break my heart/piracy - la belle et la bete - clementine - do you know me - black boy lane - encore: love will tear us apart - there is a light that never goes out - comfortably numb
Peter is to play an intimate gig at Camden venue The Blues Kitchen on December 28.
Doherty, who has been bailed until January following an arrest for heroin possession at Gloucester Crown Court on December 21, will play the show with tickets being sold on a first come first served basis. Doors for the venue open at 7pm (GMT) and all tickets for the gig are to be sold on the door.
Pete Doherty has been charged with possession of heroin after being arrested just moments after a court appearance yesterday (December 21).
The Babyshambles frontman avoided jail for a driving office, but was then re-arrested by police for possessing a controlled substance.
A spokes person for the Gloucestershire Constabulary has since confirmed to NME.COM that Doherty has been charged again.
"The 30-year-old from Wiltshire who was arrested in Gloucester yesterday has been charged with possession of heroin and has been bailed to appear at Gloucester Magistrates court in January 2010," they explained.
Meanwhile, Babyshambles have announced a last minute gig in London tonight (December 22).
For now, enjoy:
a good review of the Birmingham gig (here)
another very good review with videos of the same gig (here)
slide show from Southampton
setlist from last night's gig in Nottingham (thanks to Casterplast, who described the gig as "the best i have seen Babyshambles yet!")
There She Goes (ALH)
Carry On Up The Morning
What Katie Did
Back From The Dead
Side Of The Road
Stranger In My Own Skin
Native At The Gates Of Rome
I Wanna Be Adored
Time For Heroes
Beg, Steal Or Borrow
HAVING a frontman who attracts the sort of attention that Pete Doherty has over the past few years, you can perhaps understand how the rest of the band may get frustrated.
"It's always been that way," says Babyshambles drummer Adam Ficek.
"The tabloids do have that power and that potency to make or break you by how they portray you. You just have to hope that people can see through that."
Then adds: "The shame is that people don't really see through that."
Most people, that is. But there are thousands who have handed over their hard-earned cash to see Doherty's post-Libertines band play.
Ficek admits it's not always worth it.
"When we're having a good day we can be an amazing band. The way I would describe us is that we are either the best band you've ever seen or the worst."
Famed in their early days for their chaotic and messy live performances, anyone who has seen the band in the last couple of years will have seen a far more professional and finely-tuned band than the Babyshambles who stumbled on to the scene in 2004.
"I do still really like the shambolic side of things, but we do work really hard in rehearsal and when you go out there and play you just get better. I think that just comes from playing – you just naturally shape up."
Following their upcoming UK tour, the band plan to release a third album.
"The new Babyshambles album is coming along okay actually. We're thinking of releasing a new EP in the New Year.
There will be an album out next year as well but it's quite weird as there's quite a lot of pressure, in terms of time.
"There's a lot more punky stuff coming out, as well as a lot of shoe-gaze type stuff too. It's sounding a lot less angular, but more melodic. Because there are so many influences within Babyshambles, there's no real overriding style."
He adds: "You always evolve as you make new music, you don't want to go back and do the same things again so you evolve.
"It's hard to describe the evolution in that respect. As you're evolving, different influences are coming from different areas."
Typical of Doherty, Babyshambles' new tracks sound colourful and poetic.
BNP Blues is a tirade against right-wing racism. As a multicultural band, racism is an issue that's close to the heart of Babyshambles.
"It's something that we all care about," says Adam. "I'm from Eastern European stock, Drew and Pete are from Irish stock, and we're all kind of shocked and disgusted that in the UK and in London that real xenophobia still exists.
"Personally, I try to not be too political. Some people just like to escape in their music, some people like to be told what to think, whether for right or for wrong. So sometimes music can be a pretty good means of escape, but other times music can be pretty politically moving. I do think you need to be careful about how hard you push it. You don't want to seem like you're preaching."
"Well, Bono does what he does but that's his own subjective way of doing it. Sometimes, I don't want to hear reality in music. There's enough of that nasty stuff on the news and in real life, it's hard to escape. But there are times when it's good to raise social awareness."
As a decade in music that they helped to define draws to a close, what do the band hope to achieve in the future? Adam tells us of their humble ambitions: "I'd like to keep going as long as we can make a living from it. We're not really in it to become the biggest-selling band out there or to try and win the Mercury Prize.
"That never comes to bands like us, anyway. If you're a bigger band with a lot of media backing paying a lot of money, then that's fine. I don't really see us as that sort of band.
"We're more quiet and detached and unseen. We're not really that kind of pat-on-the-back Mercury band, or any of that T4 stuff. We're more your kind of meat and potatoes band, we just want to play."
HE’S known as something of a mysterious maverick in the music world, but it seems former La’s frontman Lee Mavers could be about to take a much talked about step back into the spotlight.
Only this time it won’t necessarily be with his old Scouse bandmates, but with a new partner ... Pete Doherty.
Insider’s spies report seeing the pair keeping each other’s company quite regularly and that’s prompted speculation that they could be working together on a new project.
Mavers penned the famous La’s anthem There She Goes but then disappeared almost without trace after the band split in 1992, until they got back together to play Glastonbury in 2005.
There were rumours of a highly belated follow-up to the one and only La’s album towards the end of last year, but nothing appeared.
But Mavers was spotted in the crowd watching Babyshambles at the O2 Academy on Monday, and it’s not the first time he’s been seen with Kate Moss’ ex.
He made a surprise appearance in Birmingham in March this year, joining Doherty on stage to play La’s classics Son of a Gun and There She Goes.
Our source says: “Pete and Lee have been spotted together on Bold Street and in the Albert on Lark Lane, so hopefully they’re recording in the Motor Museum together.”
In early November, I interviewed Jon Bon Jovi for the Guardian. He was cool and a total gentlemen. When Jon mentioned he didn't know who Pete Doherty was, I suggested that the Babyshambles man was well worth hearing. In my opinion, both Carl Barat and Pete Doherty of the Libertines are iconic British artists, which is why I was drawn to working with them.
Last week, Libs drummer Gary Powell sent me demos of his new band, the Invasion of … I have to confess, I wasn't expecting the material to be on a par with that of his former bandmates. After all, how many rock drummers have gone on to great things? In this case, my assumption was wrong. Gary's new band are brilliant. Absolutely brilliant.
Defying the sceptics, Gary's group will soon be basking in critical acclaim. The anticipation surrounding the Invasion of ... is already building like an encroaching storm. Prepare for a heavy downpour of righteous rock'n'roll.
With the druggy fallout of the Libertines and the recent split of Dirty Pretty Things in his rear-view mirror, Powell is steadily proving his own talent for powerful, brutally honest songs. Having thrown himself into the rock'n'roll maelstrom with both of his previous bands, the Invasion of ... takes a subtler, more reflective stance. Singer Robin Coombes (aka Farma G) resembles a streetwise Sly Stone on the anthemic Invasion of Venice. Often he comes across like one of roots reggae's more philosophical singers: "And you feel like you were sinking, with your head in your hands submerged in deep thinking." It's a road less travelled by both Doherty and Barat, and one that is full of compelling moments.
Musically, the Invasion of … are full of high-energy charge and fearless experimentation. Imagine High Time-era MC5 with a heady infusion of soulful dub. As each song progresses, you hear the tap-tap-tap of the drumsticks that remind you this is the band of a world-class drummer. But The Invasion of … offer more than just rock-action antics. For all the fury of the music, the lyrics reveal poetic melancholy and stoic wisdom.
Invasion of Venice presents a troubling narrative. With steely precision, Coombes dissects the debasement and distortions of rock'n'roll fame. On other songs he is full of burning indignation as he levels the fallacies of the music industry with a mighty lyrical blow: "Now we are the talk of the town/The word on the grapevine/Is nothing but cheap lies." The Invasion of ... blend punk-rock rage with the power of soul in a way I've not heard since Drag City released the amazing debut album (and lost punk masterpiece) by Detroit band Death.
For me, this music almost constitutes a sequel to the unwritten story of Death. Who would have thought the Libertines drummer would emerge as a major songwriting talent? But it's true. Just listen.
Babshambles played at the Liverpool O2 Academy last night. We have one video (the other one was too sci-fi for my taste):
Delivery (get seasick!)
Adam Ant (FDW) wrote: "jus got back. shambles certainly lived up to their name tonight, pete was a fuckin mess- fallin over,throwin mics etc. Drew looked so pissed and think he tried to stop it early at one point but pete wasnt havin it. personally i had a great time, reminded me of the old shambles so gd in that respect yet i still feel for the boys trying to make them a credible musical force, it will always be the pete doherty show when hes like this".
Drusillo will participate to an event scheduled at the Flowerpot in Kentish Town on 22 December, to mark the seventh anniversary of the death of Joe Strummer. The line up so far includes Sam Duckworth (Get Cape Wear Cape Fly!), Drew McConnell (Babyshambles and Helsinki), Ray Gange (star of Rude Boy) on the decks and the Guvnor's of Punk - Night of Treason playing the Clash classics with their customary very special guests. There will also be special showings of the Jail Guitar Doors movie, Breaking Rocks, and clips from the documentary The Last Night London Burned with unique footage of Joe's last ever London gig at Acton for the firefighters where he was reunited with Mick Jones. If you're in London, don't miss it!
If you care about Carl Barat's acting career (I'm being serious!) you will know his stage partner Miss Frost has just "started rehearsing with carl B" (from her Twitter page). To this point you have taken us, Carlos. How will I ever forgive you?
And ecudortne (.org) said: "gig was really fucking good, Doherty and the band were on good form... he seemed in really good spirits, lot of banter with the crowd [...]
Kicked off with Pipedown... Time for heroes was in there... covered I wanna be Adored... obviously finished with Fuck Forever, which was a riot. Good stuff all in all. Apart from some middle-aged prick afterwards complaining that Babyshambles weren't the Libertines... get over it".
You always know that an evening spent with Pete Doherty isn't going to be routine and tonight was no exception. Due onstage at 9pm the band fail to show and instead an unnanounced third support act, some long haired herbert, ambles on to play some aimless acoustic numbers for 20 minutes. He departs and Pete immediately appears, looking like death cooled down he signs a few autographs and then promptly disappears again for another 30 minutes. The increasingly restless crowd begin to get lairy and it is a huge relief when Babyshambles finally arrive, albeit about an hour late.
Having shot Doherty before I know that it isn't going to be much fun in the pit and, fearing for the safety of my cameras, I pray that they don't play any hits in the first three songs. Typically, they kick off with their biggest hit 'Killamangiro' and, right on cue, a monsoon of warm lager cascades over the band. That's the least of our worries though because the support band's free 7" singles are also being used as potentially deadly missiles. It's easy to criticise security at gigs for being heavy handed but the guys here tonight have to put up with absolute bloody murder. The are constantly drenched in beer and stand there and take it, carefully helping fans out over the barrier despite the bestial provocation from a minority of neanderthals in the audience. I doff my beer soaked cap to them.
Never mind the bouncers though as Pete is visibily not amused either, flicking the v's to the crowd with evident venom. The band struggle on through 'Beg, Steal or Borrow' and gradually the beer showers clear up allowing Babyshambles to finally hit their stride. As they begin the third song, however, something is clearly amiss and after many long, meaningful glances offstage the band suddenly drop their instruments and make a mad dash for the exit, with Pete rivalling Usain Bolt over 100metres.
This time it seems as though it isn't Pete's fault. Some clown has set off a fire alarm. Game over. Apparently the gig eventually resumes but it's too little too late".
Meanwhile we had quite a funny night at The Tabernacle bar Friday night when we witnessed a curious Dirty Pretty Things reunion one year after the band's official breakup. Rumours had been rife throughout the evening of course but they verged more on the Libertines-side than DPT (why is Kieran Leonard supporting Babyshambles when he's promoting a record produced by Carl? how come Shambles' tour has a day off today? Isn't that Babybear over there? (it wasn't)". Well, everything cleared out when we saw Didz, Anthony and a very sick Gary doing a ragged soundcheck. So, instead of hearing Carl's new material we got Deadwood, Gin and Milk, Wondering, Buzzards and Crows, Bloodthirsty Bastards, Doctors and Dealers and Bang Bang You're Dead (video by Anto Dust, who played earlier).
And Carl's solo stuff? Try again, next time you'll be luckier.
man who came to stay, killamangiro, fuck forever, stranger in my own skin, there she goes (a little heartache), I wanna be adored, i wish, time for hereos, french dog blues, carry on up the morning, pipe down, albion, badies boogies, beg steal or borrow, sedative... erm thats all i can remmember for now
(edit: setlist - stookie untitled and delivery)
he was VERY drunk, threw the drum kit in the crowd, erm i cant remember got some videos"
carry on up the morning
stranger in my own skin
beg steal or borrow
and french dog blues
Peter's performance on MTV Germany (pre-launch of the glass) is now on youtube
The Bosh talks about Peter's desire to emulate Barry White (a few pounds more, love, and you're nearly there)
T5m rates Up The Bracket as a Top Musical Highlight of the Decade
The Bath Chronicle previews Shambles' gig of next Sunday
The Shockwaves NME Awards voting is now open. You know what to do dontcha.
Poor Jamie Fullerton twittered about having an exciting night round Carl Barat's. Of course he ended up "Predictabky drunk. Ugh,,,,,,".
What’s your favourite dish?
Milton Keynes has a lot of roundabouts. What was it like growing up in a new town?
You used to teach drum lessons in schools – what’s the hardest thing for an aspiring drummer to get to grips with?
You play guitar in Roses Kings Castles and can also play the piano, flute, trumpet… how did you get so musical?
So you’ve been writing music for a long time?
Was it nerve-racking playing without Babyshambles?
Are the other Babyshambles members supportive?
Now you’ve got a taste for it…
Obviously people associate the band with Pete and his wicked ways – is it easy to get caught up in the rock’n’roll lifestyle?
How do you unwind?
What style is your music?
What’s your best advice for young people wanting to make it in the music industry?
As you already know, he's moving his first steps as a producer:
Newcomer Kieran Leonard is to release a Carl Barât-produced track on December 31.
The song, called 'The King, My Father' was produced by Barât at Ray Davies' Konk Studios in London.
Leonard is releasing the track digitally on New Year's Eve to coincide with the final full moon of the year. He has been releasing songs digitally on previous full moons in order to allow fans to burn them onto CDs and put them in a special box set which is available to buy from Kieranleonardmusic.com.
Leonard is set to support Babyshambles on their forthcoming UK tour. He also plays a full band show at Camden's Proud Gallery on December 14.
And secondly, it seems his solo album is coming out fine. Carl has been working with Brian Eno's collaborator, guitarist Leo Abrahams, who commented his recent fling with The Mighty Carlos with these words:
"Last month I spent a week producing Carl Barat. We’d never met before, and as I lugged all my equipment into a studio on Hoxton square on day one, I was rather nervous. Usually there’s at least a meeting beforehand. But within an hour of his arriving, we had written a new song and had a bit of a laugh, and we managed to record 4 tracks in a massive hurry. The imposition of time limits really is condusive to getting the best performances. Carl took this idea one further, by finishing lyrics only moments before going into the vocal booth. After one such last-minute addition, he observed “putting a new verse in a song is a bit like putting a new kidney in a person – you never know if it’s going to be rejected”. Findlay Brown, who co-wrote one of the songs, came down to help out and Carl kept a fairly constant supply of interesting people coming through the studio. Some artists like a ‘closed set’, and others like it to be more social. Generally I’m in the former camp, but this time it was fun. He and his manager thanked everyone on the last day by bringing in bottles of fine whiskey".
Thursday 10 December 2009 O2 Academy, Sheffield, United Kingdom
Saturday 12 December 2009 Cardiff University, Cardiff, United Kingdom
Sunday 13 December 2009 Bath Pavilion, Bath, United Kingdom
Friday 11th December 2009 CHERRY COLA Christmas Party
THE TABERNACLE BAR & GRILL (soon to be McQUEEN)
55 Tabernacle Street, Old Street, EC2A 4AA London)
Carl Barat (Libertines)
Didz (Dirty Pretty Things)
Joe McAdam (New York Fund)
Alan (Cherry Cola Club Night)
The Langley Sisters
Dirty Harry (Acoustic)
Chris McCormack (Gary Numan/3 Colours Red)
**£5 Entry (please come early as will be a complete sell out!)
Meanwhile, there's an interesting review (with videos) of the German dates here, for which you're granted my usual dodgy google translation:
So much was read into Doherty's Munich gig and the expression of those four words were scandalized, and unleashed a blitzkrieg in a teapot, it probably is inevitable that Doherty's last tour appearance in this country ended with the fronds of a flag of Germany. But more on that later.
Next: one is a little bit familiar with Doherty and his environment, so the two most commonly cited reasons for "Germany Germany contribute about everything" rather absurd. Doherty sang that neither a "Nazi anthem" nor a "Hymn to Hitler" - as newspapers said - as Mr Erk in the well yet most intelligent articles on the whole Chose beautifully presented. That it furthermore includes a certain absurdity in the argument, he implicitly Doherty vorzuwerden was) a) or b wanted the Nazis to claim omnipotence, the desire for world domination of the Germans sing affirmatively (which would be a context that would make those four words really inexcusable) should be clear to everyone with a small reflection.
The fact that Doherty is controlled to produce beautiful a minor scandals of the tour, when you have a vague knowledge of the Doherty-"management" and its Betreung (unfortunately) also deny. Throughout the rich history of events Doherty was not a single target provoked scandal there. The sad truth is much more: the man is a junkie, his entire self-chosen environment over the years as in league with drugs. Some have apparently made the jump (Carl Barat - sang about Pete "You gave me my first pipe anyway"), Others are on the London scene as crack and heroin dealer known (former (?) Manager, for example), not to mention the fellow musicians altogether. This, I fear that even a somewhat well-read and interested people like Doherty, the sensitivities and changes in the German national anthem are not known in depth, as we assume that in this country - perhaps speaking from the presupposition that knowledge and the somewhat unpleasant subtext that it everyone would be interested so much for Germany in order to know those sensitivities. The fact that Germany is still very navel of the world. I think not.
But enough about the subject of endless at this point. Eric Pfeil reported even from the Cologne concert in a way that could not be more appropriate (please read!). I attended the concert in Hamburg and Berlin to highlight its analysis. It is the very fragility, spontaneous, the desire to present themselves and their own songs completely skeletar and all the meat, all the muscles, which otherwise confer on the plates of the Libertines or Babyshambles gitarrenkrachenden the songs their force to leave out that this Appearances do so extraordinary. Basically, despite continued commercial failure Doherty is still too large to adequately present his songs to be - these songwriters, these songs, they do not belong in an airplane hangar (Berlin Festival) Or in large event space and the "evil and dangerous" in Hamburg, but in the pub next doorIn the living room of his friend.
Doherty, however, that it succeeds in drawing an unbiased audience under his spell, is neither to his guitar skills nor the Sangesperformance. Especially the latter is suffering greatly from his health problems. He croaked these days more than he sings. But precisely because he presents his songs in this openness and is not afraid, could be under attack en masse, he also shows the size of the songwriting. The fact that most of his songs just carried away even in the worst possible starting point and touch a nerve, as could almost any other songwriter from the island over the past ten years.
Doherty's concert is always wonderful in the arbitrariness of the setlist. He did not present his new album, but played out on your mood (and audience wishes) by his immense back catalog. How many great songs he has written already, it is noticeable when he can leave in Hamburg, for example, "Time For Heroes," "Albion" and "Killamangiro" - three of his best songs - or indeed even in the Berlin boiler house to "Fuck Forever" a large consensus on the song he has written up to now (and unfortunately also extended his fan base to a sometimes awkward corner) had waived. To be b-sides from old-time Libertines (Mockinbird "in Hamburg) as well as album tracks (" The Good Old Days ", Berlin and Hamburg) played or even taken old unreleased demos from the closet with the Libertines uniforms. The latter used Doherty in Hamburg, then to persist for a beautiful Diss the Munich fans who provoked him with Kettcarrufen to "Germany above all" singing ": "The next song is for those shitty Kettcarfans a couple of days ago - Hooligans On E ...".
Was the Hamburg concert well, was the Berlin of an event. In much better shape than the day before, finally appearing without a hat, Doherty was a huge joy. But he, the tabloid hysteria surrounding his "Nazi gaffe" was recorded and Germany with a flag on the stage and spontaneously slipped into a little parody of Hitler, had this been a history of sovereignty, so we could not wait.
The setlist in Berlin was written about his own songs out yet with cover versions of "April Skies (the text on his own arm and while reading off of the song) by The Jesus & Mary Chain and" Another Girl Another Planet ", the great hymn of heroin Only Ones, also bolstered. "Delivery" as the first song showed even at an example, why in Doherty solo is the secret: (video)
While the Babyshambles recorded Version was of "Delivery" is a bit too Quasicover straddle the Kinks, is his solo performance as the early demo of the song and once again underlines the vulnerability out of his text ( "Oh now what use am I to anyone / I'm fucked, forlorn, frozen beneath the summer ") But also his hope for escapism, for the better world in which we love wegfeiern all the self-doubt, and can-drink ("Where all you skins and mods you get together / Make pretend it's 1969 forever / Find a girl, have a drink, have a dance and pray"). And here, in the desire for unconditional escapism staying with him a figure of thought, lies the whole problem of Peter Doherty. The boy kicked out at the world / The world kicked back a lot fucking harder now: (video)
Berlin is not easy Munich. There, the British musician Pete Doherty had recently received boos for his appearance. Not so in Berlin. Here is applauded after the Romantics has finished the Rock n 'Roll, including Germany flag and alcohol his acoustic solo appearance in the culture brewery.
They had already thought he was now clean. At the Berlin Festival last summer, Peter Doherty surprised with punctual attendance and pleasure in their presence. In the gossip columns, the English singer emerged on the other hand, increasingly rare, since the chaotic relationship with supermodel Kate Moss has ended. Of new prison stays for drug escapades, nothing has been reported. On top of surprised to be released in the spring solo album "Grace / Wastelands" with a more mature artistic expression.
But now this! Doherty voted last weekend at a gig in Munich, Germany, the first line of the song and took it far beyond the borders of the Bavarian capital, also for outrage.
Through its recent misstep that was already long ago announced a solo acoustic concert in the boiler house of Kulturbrauerei even more interesting. On the morning of the first day, the competent agency reported that no cards were having. Once again, therefore, had confirmed that affronts and controversy to boost the business wonderfully.
And so that too for a while that way, does the singer also in Prenzlauer Berg is anything but tasteless. Before he ascends the stairs to the stage, he announces his coming from below with the fronds of a Germany flag, which he then puts on his guitar amplifier.
In addition, alcoholic beverages are plentiful, for nothing is the singer a greater abomination than the thought of an impending hangovers. He mumbles and attacked varies a bit, the voice seems bad. Doherty sounds like one who sings behind the next, and Bechert, although the landlord had closed the pub doors already and only have guests that are already part of the inventory.
Basically, one has expected nothing else. Doherty is among the young musicians of the last true romantics of Rock 'n' roll, his tendency to blunder makes him seem authentic. Of course, he has also written a few songs, in which there is a certain something. In "What a Waster" puts both the rebellion of the Clash as well as the sensitivity of the Smiths. With "Down In The Tube Station At Midnight", he thanked another hero, the group The Jam. Finally, of course, can not praise the missing Albion, the ancient name for England and the British Isles.
Doherty has never made any secret of the fact that it sees itself as a pop-patriot. Not even the flag of Germany does not change, which he shortly before midnight, along with the many drinks resumes backstage. In Munich he earned boos in Berlin, but he received for his eccentric sympathetic imagination much applause.
Babyshambles have outlined their plan to release a new album in 2010.
The band, speaking in the new issue of NME out today (November 2), said they had around 18 songs in contention for their third album, although it was still in its early stages and they have yet to book studio time or recruit a producer.
Pete Doherty said that guitarist Mik Whitnall had been working on demos in London for the foundations of the album.
"Mik spent a year on eBay buying shitloads of equipment," he explained. "He's written loads of amazing music which mostly just needs lyrics. So, one by one, they're getting turned into songs."
He added that older songs including 'Stone Me What A Life', 'Cuckoo 1440', '352 Days' and 'Tinker's Daughter' may make the album, plus 'Fixing Up To Go', 'Bonjour Trieste' and 'After He'.
Speaking of the latter song, Doherty explained: "Musically it's the perfect – I won't say rip-off – but combination of classic ska and the riff from [The Smiths' 'This Charming Man'."
For the full interview with Babyshambles see the cover feature of the new issue of NME, out now.
To celebrate the news, NME.com has also a gallery of piccies of Peter, accompanied by some of his famous quotes (argh).
It seems last night's gig went on smoothly, at last. While all the German sites are still rife with furor after the "nazi-hymn" rendition of Saturday night, Peter played a good gig at the Backstage club in Munich.
Setlist by Niobe: the good old days - delivery - last of the english roses - a cover?? (something like nothing ever change) - hooligans on e - can't stand me now - salome - what a whaster - love reign o'er me - bucket shop - sheepskin tearaway - what katie did - fuck forever - music when the lights go out - never never - albion (with alan wass) - hired gun (with alan wass)
And now the gigs of the week:
Monday 30/11 Peter Doherty, Roses Kings Castles, Alan Wass at Essigfabrik, Köln, Germany
Tuesday 01/12 Peter Doherty, Roses Kings Castles at Uebel & Gefährlich, Hamburg, Germany
Wednesday 02/12 Peter Doherty, Roses Kings Castles at Kesselhaus, Berlin, Germany
Friday 04/12 Peter Doherty, Bad Hair Day, Adam Ficek at Debaser Medis, Stockholm, Sweden
Saturday 05/12 Peter Doherty, Bad Hair Day, Adam Ficek at Kulturbolaget, Malmö, Sweden
Sunday 06/12 Peter Doherty, Roses Kings Castles at Rockefeller, Oslo, Norway
The first single I bought …
Jive Bunny and the Mastermixers: That's What I Like (1989)
Growing up in an army barracks I remember hearing a lot of army-related songs, mostly about Hitler's genitalia or lack of, the QM's stores and one perennial favourite, that went something along the lines of "left, right, left, right, left" , which I could hear belting out from the parade square even as I put on the turntable my first ever single purchase – Jive Bunny and The Master Mixers, 'Thats What I Like'. Hell seeing days. For me this song was the soundtrack of your second to last enclaves of upwardly mobile underclass muttering disciplined, salute-signalled obedience to the very last enclaves of bona fide [t]officer class 'Ooray 'Enries.
The song that made me smile…
Derek B: Get Down (1987)
It was the 80s, I was eight and I can clearly remember the pool of blood from where one 'army brat summer activity' javelin instructor had carelessly thrust his spike through a pal of mine's head. This song cheered me up and I sat agog for many an hour, listening repetitively to the premiere UK hit pop artistes, Derek B and Easy Q. They spoke of a far-off place called east London. The furthest east I'd been was Tottenham Court Road. They spoke of"sticking sawn-offs up the noses of guards" and more intriguingly to my once innocent ears, some female acquaintance who had "two big things like basket balls and down below was like Niagara Falls". The bloody tape recorder ate my tape, but not before a vision was born.
My awakening to lyrics…
Chas and Dave: Christmas Jamboree Bag (1981)
To the bemusement and amusement of my schoolfriends and probably my family, the 12-year-old junkie rocker in training was an obsessive listener to the Christmas Jamboree Bag. These treasures were the north London duo's mass medleys of music-hall songs, a lot of which had never even been recorded before. They were lyrical, often melancholy, littered with single entendres and always melodic. Even as my eyes were being drawn to the volumes of war poetry in a downstairs closet, I was mesmerised by Harry Was a Champion, A Big Fat Fly Flew by Fat Flo's Flat, and 'Down the Road There was a Bloomin' Riot'. One later partly popped up as a crucial verse in a popular Libertines song: "the other night I goes to a ball and they calls me Cinderella/ and upon my coat I wears a button hole and they calls me a tidy fella/ next to me comes old Mother Brown, pulling up her railway socks/ says to me come and have another dance, cos its ain't quite twelve o'clock/ so off we go, round and round, but there's gonna be some trouble I know/ cos I got no buttons on me trousers/ and me pins ain't none too strong/ hurry up Mrs Brown I can feel it coming down, and it won't take none too long".
My life changing song…
The Smiths: I Started Something I Couldn't Finish (1987)
Somewhere between the pillows and the skies, amidst the stark satanic thrills of adolescent whimsy, there's a second-hand record shop. Lets say it's in Nuneaton. Let's imagine a wonky-fringed 15-year-old striding purposefully towards it with his paper round money in his hand. The week before he'd seen a strange apparition, a call to arms even: some right bramah had paraded out of the same shop, wearing a T-shirt saying 'Shoplifters of the world unite'. Later that day I sat in a room bedecked with QPR memorabilia and stolen library books, a chewed-up Derek B tape and a periscope from an Iraqi tank the old man had brought back from the Gulf... and my life changed for ever. I Started Something I Couldn't Finish cranked into life and something divine occurred to me. Within six months I had officially taken up residence inside Smiths songs 'Well I Wonder', 'Jeanne', 'Real Around the Fountain', 'Nowhere Fast'. I think 'The boy with the thorn in his side' made me want to pick up the guitar. 'This Charming Man' quickly made me put it down again and then 'Rubber Ring' left me in two minds.
My introduction to dance…
The Stone Roses: Fools Gold (1989)
Moving on... It's summer 1997, I'm dossing at my Nan's flat in London NW2 working at Willesden Green cemetery. By now I'm in possession of Benny, a crappy old Spanish guitar that is causing serious rifts in the domestic politics of Nanna Doll's gaff. My cousin Lee Cassidy had a flat in an opposite block. I sat gobsmacked in his kitchen before work one morning as he told me that he'd never listened to guitar music just dance, rave, jungle etc. "Hang on though Pete, hold tight...." and Fools Gold blasted out across the room. Bloody Hell, what the fuck is this? I looked at my cousin and then at my feet. Oh, this must be dancing.
A discovery by 'chance'…
The Skatalites: Marcus Garvey (1965)
One Saturday in the summer of 1997 it was my day off and I wasn't going to sit around at Nanna's being told to shut that bloody row up. I go up west with my little guitar, I play Meet me on the Corner by Lindisfarne. I get moved on. What can you do? You go home with your latest 'purchases', one of which is a Walkman that some careless lad left on a pub bench. You come out of Kilburn tube, because the barriers are being mended, take the 16 up Shoot-up Hill, and you fancy a walk, so you cut through Gladstone Park. There's an old rusting metal railway bridge and daubed upon it for as long as I can remember are the words Dollis Hill Mods with Mods crossed out and replaced with the word Skins and then Skins crossed out again and replaced with the word Mods. You have a look at the Walkman. Quite flash. You put the Walkman on, asteroids destroy Neasden and all the bells in all the churches in London clang like no one's business. I bounce home, trying to walk like a black kid as the Skatalites blow my tiny mind. '007' by Desmond Decker 'Rudy a message to you' by Dandy Livingstone... I felt like Saint Peter just as I passed the junction of Dollis Hill Lane and Damascus Close.
A source of hope…
Billie Holiday: Good Morning Heartache (1946)
Peabody Cottages, Bruce Grove, sometime in 2001. The rain was playing havoc with my attempts to finish my novel. What with the fact that my bedroom roof had just caved in. Aside from that, my girlfriend had ended another vicious row by running down Tottenham High Road in her negligé. The car that I'd bought off a young dole-scrounging, would-be superstar Johnny Borrell didn't fancy the trip (what with it being two hundred and seventy-five quids worth of absolute shite). The phone rang, my Jobseekers Allowance key worker was calling to remind me I needed to come in today as they had concluded their investigations into my false claims and I was to be issued with a demand to repay two years worth of benefit fraud. The phone rang again. It was BT. They were cutting the line. I stubbed my toe on the sideboard and stumbled down the stairs, cracking my head on the record player and spinning it into life. 'Good Morning Heartache' sang Billy Holiday at slightly the wrong speed. I made two promises to myself. I'm gonna have that chord progression one day. And I'm never buying a used car off Johnny Borrell again.
When in Wormwood Scrubs…
The Beatles: Free as a Bird (1977/1995)
There is a corner of some skanky Victorian gaol cell that is forever Billy Bilo's and it was there thatI squashed my ear up against the crack in a cell door and listened to 'Free as a Bird' coming out of the Screw's transistor radio from the landing below. "Turn it up Guv" I begged. He turned it down. "Whats that Doherty?" "Can you turn the radio up please Guv". "Listen to him, will ya, he thinks he's at the Camden Palace, this is Scrubs mate". "It's called Koko's now you fat northern cunt" I muttered under my breath. "No," came a voice from the next cell. "It's definitely Scrubs."
In fairness, the prison guard in question did turn the radio back up, but the song was ending, being followed on the Capital Gold playlist by 'Cool for Cats' by Squeeze. Well, you can't lose them all can you?
Well I don't think this will affect tonight's official performance, but please Peter... enough with nazi imagery, even if it's a pisstake. Morrissey was slaughtered for much less back in the day.
"He comes, he comes, he comes good that Pete" ... Apologies, but it was Thursday when a five year old child feverishly waiting for Christmas, waiting for Peter Doherty. Only the five year old child can be sure that Santa Claus and his shots will kick back on the rooftops. But the people in the sold Hof Ter Lo / Trix waiting, but there had to guess whether their very own St. Peter would show up.
In the series with only a guitar, was first Alan Was office to wait just get a break. The wait bearable, however, he did not. Was, an old friend of Doherty, he looked like the courage of desperation trying to scramble back to the '70s, a lot permed hair and a tight, velo hours, red pants. He murmured some to go and behaved like a boy with his first guitar in an Irish pub should be doing his thing at the local open mic. A boy who his musical talents have not quite classified, but all trained hard for the mirror on how the Rock'n Rolla to hang.
"Mary, where did you go"Sang the man. We must hope for her that she was hit far enough ...
Adam Ficek, Doherty's Babyshambles drummers in size, it already did a lot better off. He has toured for a year under the name Roses Kings Castles and even though his album bearing the greatest bells and whistles, but now he was completely rid of extras and just take the guitar.
He immediately kicked off with a cover of The Ramones, "Sheena is a Punk Rocker" and made an almost miraculous intimate number.
Ficek is a man with his charm disarmed his songs have a long way helps. He needs to concentrate on the narratives in his songs when listening "Stupid Little Shut Your Mouth" and dedicated to his dead horse 'Horses for Courses ", but at the end of his set, he still managed to give a funky twist "Entroubled. And so disappeared the last and only sober man of the stage.
Peter Doherty failed to materialize, like a real rock star and as befits his reputation even though he has managed to make diets. There were occasional already slightly nervous shuffling observed when Mr. Doherty for his infamous face fourth ten still had not shown.
But eventually, after some palaver, and under mild constraint, so we may hear later, pushed on stage.
There he stood, like a true but very drunken dandy in the rather dingy stage of TRIX. The gray, perfectly tailored suit stood him very well, but the beige hat and hung with gold arms and neck, gave him more the air of a poshy british lad.
"Feels like being a stand-up comedian. Does any one want to hear a song?". Certainly. The audience hung on the man's lips before he had released only one note, but increasingly on the podium, the more he is a stand-up comedian turned out, one that the humor of the situation must have . If you post any stories of people who pick him earlier that night completely drunk in a restaurant have this condition go beyond, one would think that his drunkenness was a kind of pose that he holds himself to feel less lonely on stage.
But not so, he allows even the Duvel and wine eagerly claim, although he always shares with the first row of neat.
Yet he knows some way to keep songs, thanks to the public that a large part of the lyrics from him know to take over. At the moment they get the chance to course, because he lets his numbers are slipping in a gepluk his guitar under the guise of an inimitable guitar solo. He stretched his number so happy to.
If he was completely sober have assisted, it would have been a piece of stripped down songs from the entire back catalog of The Libertines and Babyshambles.
He took almost no songs from his own solo repertoire, but controlled himself among the public about the Lall gum blowing bubbles, drawing-boards of The Libertines and receive sausige letters to his address, from songs like 'Dilly Boys', 'Shotter Nation' and 'Time for Heroes ".
To fill the stage, he also brought along two ballet dancers, who bluntly skipped across the stage. Even the surrealism of David Lynch had two ladies in a colorful outfit who were dancing like they were auditioning for the Russian State Ballet at the forefront of a zwalpende Doherty, not his films stopped.
His encores were deployed under a light force, but he still conjured "What Katy Did" and especially "Down in Albion The" out of his beige hat. For that last song was his colleague Alan Was (nowadays also nice to look in the Duvel glass) are meetoeteren on his harmonica, but not without occasionally from the spotlight to be pushed away by Peter himself when his position for wanted to claim back the microphone.
Hopefully he can that position behind the microphone far maintained. Up slightly less drunk.
And Carl says his solo album will be "the best thing he's ever made" (video interview here).
Sadie Frost will return to the stage in the new year to star opposite ex-Libertines musician Carl Barat, making his theatrical debut, in a new production of Sam Shepard’s 1980 play Fool for Love at west London’s Riverside Studios.
Fool for Love, which opens on 28 January 2010 (previews from 25 January), is the first production in a repertory season from theatre company Love&Madness. The season continues until 21 March with two more productions joining the rep: Shakespeare’s Richard III (opening 4 February), featuring Frost as Lady Anne, and a devised piece called Demi Monde, inspired by the designer and socialist William Morris.
Shepard’s 90-minute Fool for Love recounts a painful love story. In a seedy motel room in southern California, May (Frost) and Eddie (Barat) go back beyond their adult lives, back to the legacy of their parents and their parents before. As they challenge each other's versions of events, what emerges through broken images and scraps of remembered colours is a childhood which defines the rest of their lives.
The play was last revived in the West End in 2006 in a Lindsay Posner production led by Hollywood film stars Juliette Lewis (who, like Barat, also has a second career in rock) and Martin Henderson.
Frost returned to the stage earlier this year, for the first time since the beginning of her career, to star in the one-woman play Touched at Trafalgar Studios. Barat is best known as the former co-frontman, with Pete Doherty, and lead guitarist of the Libertines. His subsequent band, Dirty Pretty Things, broke up in 2008.
Commenting on his change of career direction, Barat said: “I have always wanted to act, so when Sadie and Neil (Sheppeck, artistic director of Love&Madness) offered me this I was very much up for it. It's certainly one hell of a challenge, but I'm really enjoying the process of collaboration.”
Frost said: “It has been amazing to have been asked to work with Neil Sheppeck and Love&Madness and I have loved the fact that, as a performer, I have been given the rare opportunity to be an integral part of the company’s creative process.” Sheppeck said that, with Frost and Barat, the company, founded in 2000, hoped to “attract a whole new audience into the theatre for the first time”.
by Terri Paddock
The man is currently wowing Dutch fans, with the only support of the faithful Ficek and the Superinnas.
After 3 opening acts: a female rapper (awful), Alan Wass (drunk, but good) and Roses Kings Castles, it was time for Peter and the ballerinas. He played for almost 2 hours, talked to the crowd between songs and gave some kisses to some girls who stormed the stage. It was a great evening!
Here is some sort of setlist(songs I remember him playing, not in the right order):
Hooligans on E
East of Eden
The Modern Age(The Strokes cover)(he began with the intro of Unstookie Titled, but it seemed like he couldn't remember all of the chords)
Gang Of Gin
Can't Stand Me Now
Forever Blowing Bubbles
What Katie Did
There She Goes
Music When The Lights Go Out
Love Reign O'er Me
Don't Look Back Into The Sun
What a Waster
Arcady(dedicated to Graham Coxon)
Needle and Damage
Hired Gun (with Alan Wass on guitar)
Albion (with Alan Wass on the harmonica)"
We also have a review of the Rotterdam gig (here) in Dutch, but easily convertible in English with a google translator, and two videos: Billie Jean and Last of the English Roses.
Today is off and next stop is tomorrow in Antwerp (Belgium).
But! The new issue of the NME is out tomorrow and features an interview with Peter (boasting the rather sensationalist headline "Pete Doherty on life support!") where he tells us about his recent visit at the Swindon hospital and the upcoming Babyshambles tour.
Nov 23 2009 8:00P - Watt Rotterdam, Netherlands
Nov 24 2009 8:00P - Effenaar Eindhoven, Netherlands
Nov 26 2009 8:00P - Trix Hall Antwerp, Belgium
Nov 29 2009 8:00P - Backstage Werk Munich, Germany
CARLOS (dj set)
Friday 27th November - Northern Lights CLUB NIRVANA, Clarence Yard, Wigan
Only when I All Day And All Of The Night The Kinks front design of a girl begins to move. "You know what they doing?" I tell Pete. I get a smile, a handshake, and all crumpled euro banknotes. At the end of his act Pete announces to me from the stage: "That's a good dj. Come on, save me. "I turn Set Me Free of, again, The Kinks. And what does Pete do? Dance.
Pete Doherty causes crush at Kingston's McClusky's
9:20am Saturday 21st November 2009
By Louise Robertson
Pete Doherty reminded fans of his rock star credentials by lighting a cigarette on stage at McClusky’s on Thursday night.
The troubled star created a storm when he rocked up to the Kingston club with Babyshambles, after a previous gig there was cancelled through illness.
Fans reported being crushed against the stage barrier as clubbers went wild for the act. One girl was spotted shouting she could not breathe and begging security to help.
Despite the pushing and shoving, and someone trying to throw a shoe on to the stage, the mood was positive and Pete took time to shake hands with those dedicated enough to push their way to the front.
At one point he tried to light a cigarette with a fan’s mobile phone, before realising it was not a lighter.
Queues to the gig snaked around TK Maxx, as there were only 100 tickets available on the door for the night, organised by New Slang.
Superfans Francesca Galluzzo, both 24, got there at 6pm to secure their place at the front of the queue, despite Babyshambles being scheduled for a 10.30pm start.
Miss Galluzzo said: “I can’t explain how excited we are. It’s not even a situation where we’re fans, it’s beyond that. I’ve lost count of how many gigs we’ve been to.”
Richmond teenager Sam Fryer also got there early and said he was “freaked out” when he heard his hero was playing so close to his home.
The 19-year-old said: “I just love the romance of it all. At first it was all about the Libertines before the Pete and Carl Barat bust up. I just love the poetry of it all and how they so loved each other but hated each other at the same time.
“When I was younger I was literally addicted, I just could not stop listening to them.”
Francesca, if you're there speak up! We want to hear from you!
"Babyshambles played a club gig at the Kingston McClusky's venue last night (November 19) – playing a cover of Happy Mondays' 'Kinky Afro' to open their set.
As well as the cover, Pete Doherty and his band included new songs 'Fireman' and 'Stranger In My Own Skin' in the setlist, plus another untitled new number later.
The four-piece also played crowd favourites including 'Delivery', 'Killamangiro' and set-closer 'Fuck Forever' – with fans crowd-surfing towards the stage as the set ended.
Doherty now heads to Europe for a solo tour".
Khalim12 says: "Was a great gig, crowd was ok, some pricks though. Pete looked really disheartened when no one reacted to stranger in my own skin, I really like it. Fireman is really good as well. Sometimes I get the impression pete gets bored by it all. Fuck Forever was amazing... Overall I thought it was really good".
Shambles freshman Buk tells us about his experience: "Last night at Kingston was the second gig I've managed to get to so far, although I have tickets for upcoming ones already booked. The first time was at The Roundhouse in Camden and I was mesmerised. I thought he had absolute control of the songs, the band and the audience. Last night was a very different experience - at times both he and the band were superb and his rapport with the audience is really good, but the venue was truly awful. The security procedures to get in were a real pain, the majority of the audience seemed more interested in getting pissed and the sightlines were frankly shit. It was just hard to hear or see anything. I think Pete did his best - throwing in some of the great songs to keep us happy and the momentum going, as well as testing new material. Overall I enjoyed it, but I hope the next time I see him and Babyshambles, they've sorted the technical stuff out and that the audience are there for the music, not the cheap booze".
'Carry On Up The Morning'
'Beg, Steal Or Borrow'
'Side Of The Road'
'There She Goes (A Little Heartbreak)'
'Stranger In My Own Skin'
'I'm Forever Blowing Bubbles'
'Time For Heroes'
Untitled new song
So please guys, get voting.
Here for Up The Bracket
Here for The Libertines
Vote for the junkies, for the losers, for the tossers! Whatever. But vote!
NME 'The Libertines emerged at the start of the decade - hazy days?'
CBeebies (haha): 'I just remember the excitement of the routine of recording 'Up the Bracket.' Fallinmg asleep recording 'Radio America' - banging my head on the microphone because i was that battered. Mick [Jones, producer] stopping the sessions to watch Eastenders and us all sitting around the dinner table every night.'
NME 'Then it all got a bit more intense...'
Crazy Bat: 'Later all our lives changed and everyone got a bit wilder, in a bad way. The second album was a blur. It was an intense time, all sorts of emotions going round I didn't understand at the time - now i can look back and maybe think that it might just have been due to lack of sleep, some of the...Spinal Tappings.'
NME 'What Do you remember from that time?'
Carlos Whisper: 'Having a bodyguard each was a bit weird. When we first went in on the first day we almost had a massive ruck. We managed to break away from our guardians and flew at each other.'
NME: 'What do you think of the album now?'
Chewable Bottom: 'I didn't feel this at the time, but... you write lyrics and you only realise what you're writing about afterwards. If we'd set out to write honestly what was going on at the time I don't think it would have had the same effect. It's like the Velvet's album, some people say they heard it and then started a band - I couldn't ask for anything more.'
Thursday 19 November
New Slang at McCluskys, Bishops Hall, Kingston upon Thames, United Kingdom
Sunday 22 November
Tivoli Oudegracht, Utrecht, The Netherlands (Roses Kings Castles supporting)
And now a tip: MatteoAlbion (Pete Doherty Italia Forum) met The Ficek in Italy last week and he said a new Shambles EP will be probably released in February, with the full CD expected in Spring.
1. The Ashton-under-Lyme gig. Totally ignored by the Lancashire press, Peter's last gig at the Underground Live (sans Babyshambles) was mildly appreciated by the buffs. The only review comes from the old libertines.org, particularly a guy who calls himself "skagskagskag". Read on:
"was actualluy a really great gig.
turned up early on time and was totally with it.
played for the best part of two hours, me and my mates put together a setlist of what we can remember, no particluar order:
cant stand me now
man who would be king
tell the king
death on the stairs
last of the english roses
beg steal borrow
dont look back into the sun
time for heroes
what a waster
ha ha wall
hooligans on e
gang of gin!!!!!!!
whole world is our playground
music when the lights go out
and a shit load of covers:
someday - strokes
half the world away - oasis
ask - smiths
only fools and horses theme tune
i wanna be adored - stone roses
waterfall stone roses
another girl another planet
sure ive missed a few but he was great. grabbed a spliff from someone in the crowd aswell which was quite funny.
was also a incident where he punched some kid for trying to steal his hat, the guy was being a twat though. some kid from the first band on, The Fayre, came and played drums on the last few songs also. he was insanely good, absolutely nailed fuck forever. pete was buzzin of him. his own band were pretty ace aswell when they played earlier on. didnt rate the other two".
2. Saturday night. Peter kindly turned up at the tribute for Dale Massey (the unforgettable ProperBo of FDW who died a few months ago) scheduled at 126 on Saturday night. Unfortunately, and certainly not by his fault, his semi-announced presence attracted a lot of people who had never known Dale and clearly didn't care for him, but went there only to see Peter (who in any case didn't perform). That's fame innit.
3. Adam was dj-ing in Italy last week, namely in Arezzo (Tuscany). He easyjetted back too on Saturday (not in my same plane).
4. I don't know if I should talk about Carl Barat's latest bizarre activities. This is a blog strictly related to music so stage acting is not contemplated. oooooo. Jokes aside, since I know many people also care for him in general, I'll try to give some shallow updates:
"Brilliant gig" said Kutschi "band was on form and the crowd was mental".
pat_fish86 wrote instead: "The performance could've been worse but the set was pure shit". Pat didn't like the new songs.
And Decembers didn't like the crowd:
"I'm truly disappointed by some of Babyshambles' "fans" though" he wrote "I could hear that Sunderland girl shouting "I LOVE PETE, HE GAVE ME HIS BOTTLE! HE SPOKE TO ME!!! AAHHHH!!! THERE'S ADAM!!!!!" (it was drew) from the bus stop. They were running around barefoot from door to door looking through the windows to see who they could hassle next. i felt rather sorry for the guys...I would have stayed in there all night if I saw that outside!
But then i was stupid to think it would be another Halo gig, y'know, where I could stand somewhere other than the stage without getting elbowed in the face".
Rutherina has the setlist:
"Was v. good tonight. Crowd were a bit unfortunate in patches but nevertheless lively and good humoured. Boys on good form and I reckon the new stuff sounded better tonight than it did at proud or halo.
Forever blowing bubbles
Back from the dead
Barbarians/Natives at the gates of thingy
There she goes - featuring some of the lyrics from Love Cats
Then shambles went off and we had the skuzzies for a bit. Then they came back and we had:
Georgia on my mind
The 'I'll take the former' one... don't know what it's called. I've got all muddled with the new ones and their titles.
She loves you
The modest venue was packed to its 110 capacity with excited punters who travelled from all over the country, queued for hours and stumped up the £15 entrance fee for the gig, which was not announced until Monday evening.
Two support acts, Napoleon in Rags and 15-year-old Theo Altieri, warmed the crowd up to near hysteria. And the main attraction took to the stage at shortly before 11pm sporting his trademark trilby, complete with cigarettes in the hatband – yelling “Hello Cricklade!”
Fan Ben Brown, 21, a business studies student from West Swindon said: “I would have travelled any distance to see Pete and I’m ready for an epic night.”
And Zoe Mead, 21, a local musician from Grange Park, Swindon said: “This is a huge encouragement for local musicians. I can’t believe they’re here.”
Pub owner, Mike Ingle said: “It’s a great thing for the local community in Cricklade and for the music scene.”
Shalco also took a bunch of excellent pictures (here).
And Adam twittered: "just got back from cricklade, very messy and far too much sweat. next stop - London...am knackered".
10:00am Wednesday 11th November 2009
ROCK wildman Pete Doherty is set to perform in Cricklade tonight.
The Babyshambles frontman is due to appear with his entire band at the Vale Hotel in Cricklade High Street.
The band will be supported by Fred Hot Chilli Peppers (who????).
Vale Hotel owner Mark Ingle said: “It is the biggest thing to hit Cricklade. It is fantastic and incredible to get such a celebrity.
“Pete is a very talented guy and I have a lot of time for him. I can’t wait.
“The support from the Cricklade community has been great. A guy rang from London and wanted to buy 100 tickets. But it is first come first served.”
Gig organiser Robert Baker arranged the performance in 48 hours. He said: “I think it will be mostly local people from Cricklade and Swindon there. It will be a chilled out affair with some good music. Babyshambles gigs happen quite often at the last minute in London.”
Mr Baker said Babyshambles is expected to perform new tracks from an upcoming album next year as well as old classics.
Doors open at 7.30pm and entry is £15.
expect more new songs and the chance to drink liquid.
(twittered by Adam)
162 Lee High Road
London SE13 5PR
Tel: 020 8852 1267
£12.50 advance or £15.00 on the door.
Plus! There's still this to be clarified (but unlikely to happen at the mo).
The Dirty South 100%
London show .... not 100% until they explain their shoddy advertisement and apologise profusely for it.
Ashton Under Lyme 100%
Babyshambles working their socks off 100%
Read on (from Xfm.com):
Russell Brand has taken a stand in our search for Song Of The Decade. The comedian, broadcaster and squeeze of Katy Perry has nominated ‘Can’t Stand Me Now’ as the best song of the last ten years.
Brand was effusive in his praise of one of The Libertines’ best known songs.
“I like it because of the romance of The Libertines as a group”, he said. “This song is like the zenith and nadir of [Karl and Pete’s] relationship. It’s perhaps their best creative achievement and also a beautiful hymn to the demise of their friendship”.
You can hear Russell’s full comments here.
Well, I would have said Time for Heroes. But it's ok somebody still remembers how great the Libertines were. All you seem to get in these "decade" charts nowadays is that Muse are the greatest band ever and Alex Turner the hottest hearthrob (ew).