On October 8th, Bristol's O2 Academy hosted a sold-out show by indie rock icons The Libertines, celebrating the release of their highly anticipated fourth album, All Quiet On The Eastern Esplanade. Having already been hooked on the new record in the lead-up to the gig, the indie kid—albeit a slightly older one—inside me, was buzzing for what promised to be a memorable night.

Before heading to the venue, I stopped by The Hatchet, Bristol’s oldest pub, which was buzzing with a mix of die-hard Libertines fans. Some wore vintage tour T-shirts from as far back as 2002’s Up The Bracket era, no doubt reminiscing about when the band likely played this same venue over two decades ago.

Peter Xan Kicks Off With Punky Power

As I arrived at the Academy, I bumped into tonight’s opening act, Peter Xan, rushing past to sort out guest list passes, just minutes before taking the stage. From the moment they began, it was clear that Peter Xan and his band meant business. Their set had a heavier, punk-laden edge that packed a real punch, with Peter himself leaning into the crowd, wide-eyed and delivering each lyric with fierce intensity. The audience responded, with one overly enthusiastic fan being dragged away by security early on—headlocked and flailing—after getting too rowdy.

It wasn’t all chaos, though. The energy was infectious, and Peter Doherty was even spotted in the wings, smiling and nodding along in his signature oversized hat. A standout moment came with Rejection Letter, a highlight that had the crowd worried they were running out of time before being treated to two more surprise songs. It was a short, sharp 25-minute burst of adrenaline-fueled punk rock, and I’m definitely keen to catch Peter Xan again.

Dead Freights Deliver Grunge-Soaked Passion

Next up were Dead Freights, a band that exuded the camaraderie of close friends and a clear love for grunge and punk. Frontman Charlie James and guitarist Robert Franklin played with a chemistry reminiscent of Pete and Carl’s onstage antics, grinding against each other and playing up their playful energy. Musically, they delivered a heady mix of crunching indie rock and punk, with James flailing around the stage as the crowd, now much larger, danced along.

Their sound had echoes of Nirvana and even a dash of Dead Kennedys, which suited me just fine. The Libertines couldn’t have picked a better support act to warm up their indie-obsessed crowd. Dead Freights are clearly destined for bigger things, and I’ll be diving into their back catalog as soon as possible.

Libertines: Nostalgia Meets New Beginnings

By the time The Libertines hit the stage, the venue was packed with fans ready for a night of nostalgia, revelry, and surprises. As ever, I wasn’t too worried about the setlist—the band has so many beloved tracks that they can hardly put a foot wrong—but I was curious to see which lesser-known gems they might throw in.

Peter Doherty made his entrance in typically chaotic fashion, spilling tea and tipping his hat to the crowd’s rapturous applause. “Evening Brizzle!” he quipped, before launching into The Delaney, quickly followed by Boys In The Band, a track that captures the classic Doherty-Barât chemistry. The pair were in perfect sync, intertwining their guitars and voices, delivering indie pop perfection.

One of the evening’s highlights came when they introduced Shiver from the new album, a track that had somehow flown under my radar but now felt instantly familiar. The crowd turned into a massive choir, singing the chorus back to the band as if it had been a staple of their set for years. Later, Merry Old England, with its politically charged lyrics about immigration, resonated deeply, sparking raucous chants from the crowd.

Tender Moments and Anthemic Highs

As the set progressed, the band dipped into more tender territory with Music When The Lights Go Out, bathed in red light as the band stood silhouetted against the backdrop, echoing the artwork of their 2002 debut, Up The Bracket. The audience joined together in unison, proving once again that The Libertines can captivate as much with their softer moments as with their punchy anthems.

New single Run Run Run slotted seamlessly into the set, feeling like a classic Libertines track that wouldn’t be out of place on any of their earlier records. The combination of that with the undeniable indie anthem Can’t Stand Me Now was electric, offering both a nod to their past and a firm assertion of their continued relevance.

A Sweaty Climax for the Indie Faithful

After a quick breather, The Libertines returned with more of their latest tracks, weaving them effortlessly with the old favorites. Man With The Melody was one of those new songs that felt like it had been with us forever, its Beatles-esque simplicity shining through as Carl and Peter shared the spotlight with elegance and ease.

Of course, no Libertines gig would be complete without the iconic Time For Heroes and Oh Shit!, which triggered crowd surfers and a modest but lively circle pit. By the time they closed with Don’t Look Back Into The Sun, one of the most enduring anthems in indie music history, the entire venue was in full voice, releasing every last bit of energy they had left. As Pete doffed his shirt and the band took their final bow, I found myself hoarse and sweaty—exactly as a Libertines gig should leave you.

Words and Pictures by Matthew Barnes