In interviews prior to the release of his solo album, Carl Barât claimed this new material was the “real him”, away from the drama and influence of band life. Instead of delivering a brand new sound, however, what was produced was largely the same as earlier efforts – except with a wider range of instruments – and very lyrically similar to Doherty. One can’t help but wonder whether he’s just sticking to the romantic rough and tumble that sells, or if the Real Carl has been there all along, and we were just mistaking it for collaboration.
Strutting on-stage in his leather, denim and pendants, he still looks every inch the Carlos from the Good Old Days. The set itself flits seamlessly between the foppish and rebellious pages of his back catalogue. Naturally, it’s The Libertines and Dirty Pretty Things material which garners the wildest crowd reaction (leaving my brand new blouse with more beer stains than I care to mention). Well, let’s be honest, the chance of anyone here tonight coming solely for the solo stuff is slim. Nevertheless, there were fist-pumps and foot-stomps galore during the chorus of ‘She’s Something’, and enough swaying to capsize the good ship Albion throughout ‘So Long, My Lover’. It’s much more accessible than Grace/Wasteland, if nothing else.
Barât is on clearly on form; amidst the caressing calls of “Carlos!” and “Biggles!”, he remains a charming riot of a man. From “Oh stop it, Sheffield, you’re making me blush…” and nibbling his nails mid-song, to thrashing round and around in circles with his guitar, in under a minute.
However, the Likely Lad can only go so long without bringing a partner in crime into the light. Carl formally introduces us to his guitarist, “Oli B”: his brother. Once the pleasantries have passed, the sure-fire routine of head-butt-nuzzle-things and general space invasion starts up. It’s strangely adorable, as per usual, but just not the same without Bilo.
After a quick interlude, he returns for the encore with an acoustic guitar and some unreleased tracks in tow. ‘Grimaldi’ is originally a rare Libertines recording, and it shows. This spindly ballad of twisted love has Peter’s signature poetic style all over it. Carlos also covers The Langly Sisters’ ‘Sing For My Supper’ with deserved, haunting sweetness. Both these, ‘This Is a Song’ (not currently available in the UK) and new single ‘Death Fires Burn at Night’ – a much heavier number, reminiscent of an unwound ‘Horror Show’ with extra sax and a hint of Iggy – will feature in his upcoming EP, due to be released on 22nd May. If this doesn’t capitalise on his split personality, I don’t know what will.
