First support are indie-rock quartet Overpass, who play a sturdy five-track set including ‘Slow’ and ‘Take It Or Leave It’ before lead singer Max Newbold admits his throat is too sore to carry on. The audience applaud him for still showing up for us and performing a decent run of their infectious tracks. Overpass leave us with high hopes that they’ll come back in good health and without doubt that they’ll be on top form in no time.
Scottish rockers The Snuts hit the stage next and ensure the atmosphere continues on an upwards trajectory. Led by vocalist Jack Cochrane, they open with the anthemic ‘Always’, providing a sweet blend of passionate vocals, heartfelt lyrics and energising guitar riffs. They throw in the beat-steady ‘Deep Diving’ and finish with ‘Gloria’, where sounds from the whole band soar in a wholesome cry of “Gloria, we’re just, so in love, that it’s ordinary”.
Arms and necks all limbered up from the fluctuating rhythms of both supports, The Wombats take the stage to a particularly eager crowd and break the ice with no hesitation, ironically with ‘Sorry I’m Late, I Didn’t Want To Come’. This one is from their new album (released on Valentine’s Day), ‘Oh! The Ocean’, anti-romantic on the surface, it’s brilliantly oxymoronic and the live renditions prove it: there’s nothing more confusing than hearing Matthew Murphy sing “It’s not that I hate you, I just hate everyone”, in a serenading, warm-toned manner.
Other tracks from their new album, like ‘Kate Moss’ - which Murphy says was written about him and his friends having a pandemic-instigated breakdown - reveal a different sonic direction for the Liverpudlians. The response to ’Can’t Say No’, a melody of escapism and self-destructive behaviour, makes it apparent tonight that their sixth album has been going down well with fans as The Wombats have successfully tread the middle ground between familiarity and exploration without faltering the interest of their core fanbase.
Of course, people also came for the classics, which ‘Kill The Director’ certainly quenches the appetite for, and has the majority of the arena shouting “THIS IS NOT BRIDGET JONES”; a moment so quintessentially The Wombats. It’s the essence of their oddly adorable take on indie-sleaze.
Halfway through the set, the band begin experiencing difficulties with their keys and are forced to insert an interval while they work on things. When they return, Murphy’s keys can’t be resurrected, meaning no ‘Tokyo (Vampires & Wolves)’ and leading to a complete setlist shuffle.
Returning to the stage somewhat uncertain yet determined, they play an acoustic version of ‘Patricia The Stripper’ - a pretty self-explanatory track - and then head right into ‘Let’s Dance To Joy Division’, one of their early hits, complete with a balloon drop that’s usually saved for the very last song.
Murphy admits that this must be one of their chaotic shows to date (in over 20 years) but despite all the curveballs, drummer Dan Haggis says “Newcastle, you’ve made it weirdly lovely” with Murphy and guitarist Tord Øverland Knudsen nodding in agreement.
They refuse to call it a night just yet, and play ‘Greek Tragedy’ and ‘Lemon to a Knife Fight’ for us, two tracks so good and so singable it’s easy to forget about the lack of keys and synths. Before bowing out they promise Newcastle that they have “something very special coming”. But honestly, there was nothing disappointing about a surprise play of some older tracks and stripped-back versions of their hits, but if they want to come back again soon, no complaints here.
Officially closing out with ‘Turn’, they’ve ultimately managed to put a positive spin on tonight’s uncertainty and blessed us with unique renditions of their best tracks. This is a night both the band and the audience will likely never forget.
Kai Palmer
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