babyshambles

So what of the main man? Slightly wider and sporting a cup and saucer, Doherty sings, dare I say it, fantastically. Commanding the audience into escapism, his control over them is frighteningly powerful. Jumping at every beat and clapping on tap, he appears less skaghead and more like a messiah with all the praise he receives. The guitar twangs and ‘Carry On Up The Morning’ blisters out, dictating the chaotic pace that ‘Delivery’ picks up afterwards, excitement rising all the way. ‘Shotters Nation’ is chopped up with ‘Down in Albion’ and their infamous b-side, ‘Baddies Boogie’ - which lacks the sprightly harmonica of the studio version, but still spits out its chorus full of mirth. This was a group that surely was never to see the terraces of Wembley, which makes this performance all the more remarkable. It’s the half time chanting of ‘Money In My Pocket’ that signals a more intimate shift in the set. Doherty solitarily graces the stage, save for his acoustic, to serenade Wembley with his only Libertines nod of the night; ‘Music When The Lights Go Out’. It’s hushed, mournful melody comes as an indication of where they currently stand. Before we are allowed to become too melancholy though, ‘Pipe Down’ shatters the cozy skiffle, French jazz café mood and off again into raw punk noise. Drew McConnell harbours a grin throughout – as well he might - for he knows as well as the other 8000 onlookers that the boy done good. ‘Fuck Forever’ sounds phenomenal and signals the closure on a spectacle evening. Worthy of their adoration and half of those words hacks have dedicated to them, Babyshambles have called for proof in the pudding for far too long. “On with the show”, indeed.