Matt Damon returns to his defining role in this passable reboot of the Bourne franchise
Kingston Hippodrome, London, August 16
Arriving onstage five minutes early (yep, your eyes don’t deceive you), Doherty is on the best form we’ve seen in ages. He’s so professional it’s almost a bit weird. There are no slightly cracky-looking ‘special guests’, no meandering half sung/half forgotten tidbits. He’s as close to a normal, consummate artist as, perhaps, he has ever been. And although it makes for a different atmosphere to the ramshackle norm, he’s got one hell of a setlist.
Libertines-heavy and with barely any filler (Doherty keeps strumming a few bars of some of his solo work, then thinks better of it and launches into a classic), tonight is basically a greatest hits set. A little warm-up and we’re into ‘Time For Heroes’; then, with harmonica strapped on, comes the Dickensian whimsy of ‘Arcady’ and a huge, singalong ‘Music When The Lights Go Out’. Almost 10 years old, it’s still as joyously affecting as ever.
We get ‘Up The Bracket’, ‘The Boy Looked At Johnny’ and ‘What A Waster’. We get the peaks of his ’Shambles arsenal (‘Fuck Forever’, ‘Beg, Steal Or Borrow’) and his solo efforts (‘Sheepskin Tearaway’) and just enough curveballs (in new track ‘Down For The Outing’ and a full cover of The Beatles’ ‘She Loves You’) to remind us that this is still Pete. It is, by all accounts, an unexpected triumph. Now here’s hoping his next surprise is just as positive.
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