Key Points
- The Wildhearts performed their traditional December London show at O2 Academy Islington, celebrating Christmas and Ginger Wildheart’s 61st birthday on 17 December.
- Meryl Streek served as the sole support act, delivering a furious Irish punk set aligned with bands like Fontaines D.C. and Kneecap.
- Meryl Streek’s performance featured tracks including The Beginning, Gambling Death, Counting Sheep, By One’s Hand, Demon, Death To The Landlord, and If This Is the Life, with frontman Dave Mulvaney engaging intensely with the crowd.
- The Wildhearts’ set included Failure Is the Mother Of Success, Nothing Ever Changes But The Shoes, Sleepaway, Vernix, Mazeltov Cocktail, Kunce, Maintain Radio Silence, Cheers, Splitter, a new track Spider Beach from their upcoming album, Everlone, Slaughtered Authors, Diagnosis, Chutzpah, and encores Geordie In Wonderland, Troubadour Moon, I Wanna Go Where the People Go, Suckerpunch, and My Baby Is a Headfuck.
- Ginger Wildheart mentioned battling a mystery illness and needing painkillers; he introduced songs with personal anecdotes, including dedications and explanations.
- Band members highlighted: Ben Marsden (guitar), Random Jon Poole (bass), Carol Hodge (keyboards), Charles Evans (drums).
- The event underscored The Wildhearts’ enduring appeal after three decades, with themes of honesty, mental health, and social critique.
Who Opened the Show with Furious Irish Punk Energy?
Meryl Streek, part of the new wave of furious Irish punk akin to Fontaines D.C. and Kneecap, kicked off the evening as the sole support act.
The first person onstage was the drummer, described as the “trigger man” for the band’s arsenal of samples and backing tracks. Seated behind the kit, he flexed along to the ominous opening collage The Beginning, a ’90s-style soundscape built from samples addressing the mistreatment of the working class, unaffordable housing, and exploitative landlords.
During this intro, Meryl Streek himself, Dave Mulvaney, stormed onstage and immediately began hectoring the audience amid blinding stage lights. They tore into Gambling Death, with the drummer powering over sampled guitars and bass while Mulvaney spat defiance, declaring he won’t be part of the problem or take shit from anyone.
Counting Sheep followed, almost physically difficult to watch through the glare, as bile was hurled at the crowd with relentless intensity to batter the message home. The core sentiment of By One’s Hand—essentially that suicide is a devastating, pointless loss—arrived wrapped in crushing drums and ugly, abrasive riffs.
Mulvaney introduced Demon as a song about bare-knuckle fighting before spending most of it in the crowd, marching back and forth like a man on patrol, firing barbs at anyone within range. Back onstage, the street preacher returned to his central theme with Death To The Landlord, demanding a fairer world over pummelling drums and oppressive lights.
They closed with If This Is the Life, a bitter, raging assault on a system that protects the wealthy and grinds everyone else down. Mulvaney thanked the crowd and stated, as noted in the Louder Sound review, that
“it’s fine to love or hate Meryl Streek—just as long as we react.”
This set, per the detailed account from Louder Sound, showcased Meryl Streek’s unyielding confrontation of social ills, priming the audience for the headliners.
What Challenges Did Ginger Wildheart Face During the Performance?
The Wildhearts ambled onstage next, with Ginger immediately disclosing a health setback. He told the crowd he’s battling a mystery illness and may need to stop at some point for painkillers.
Despite this, they launched into Failure Is the Mother Of Success, Ben Marsden’s crunchy riff front and centre while the band wrestled the vocal mix into place—initially, Ginger was barely audible. Nothing Ever Changes But The Shoes found Ginger in a particularly bitter mood, declaiming about betrayal.
The mood lifted with Sleepaway, a true 21st-century love song, where Random Jon Poole’s swaggering bass and Carol Hodge’s intense keyboards provided a perfect foil for Ginger’s twisted lyrics.
Ginger introduced Vernix as a technical battle between himself and Marsden, before they blasted through Mazeltov Cocktail at a brutal pace. A massive singalong erupted for Kunce, Ginger shaking his dreads and barking the chorus back at the audience.
Maintain Radio Silence was driven home by Charles Evans’ muscular drumming as Marsden and Poole exchanged knowing glances through its twists and turns. Ginger then explained that the next song failed to become a hit despite Radio 1’s Chris Moyles playing it daily, before they gleefully crushed Cheers.
These details, drawn from the Louder Sound eyewitness report, highlight Ginger’s resilience amid personal discomfort, maintaining the band’s high-octane delivery.
Which New Song Did The Wildhearts Preview from Their Upcoming Album?
Amid a rampaging Splitter—which Ginger admitted he was nervous about due to its complexity—the band unveiled fresh material.
A new track, Spider Beach, from the next album—due sometime next year—followed, with Carol’s keys and Ben’s guitar seeming locked in combat. This preview electrified the room, signalling the band’s continued evolution.
Everlone from Earth vs The Wildhearts drew the biggest cheer of the night from its opening notes, sparking the first real mosh pit, with the crowd singing through its false endings with glee.
What Ginger dubbed the “battle of the riffs” grew increasingly crunchy, culminating in the magnificently dark Slaughtered Authors, shaking its head at the suicides that surround us.
Diagnosis was dedicated to anyone who’s struggled with mental health, offering a message of hope—that the right treatment exists if you’re able to ask for help. They closed the main set with Chutzpah, a reminder of what a real mensch Ginger can be.
He told the crowd they’d be back until curfew, prompting almost no encore cheers, yet they returned regardless. All song introductions and dedications were captured verbatim in the Louder Sound coverage.
How Did the Encore Ignite the Crowd into a Frenzy?
The encore opened with Geordie In Wonderland, everyone joining in. Troubadour Moon stripped things back before the place went berserk for the closing trio.
I Wanna Go Where the People Go saw the audience almost drown out the band. Suckerpunch landed with its usual brute force, and a gloriously messy run through My Baby Is a Headfuck brought the night to a close—leaving most wanting more and eagerly awaiting the new album.
The Louder Sound reviewer noted this finale as a
“snarling, life-affirming force—messy, loud, compassionate, and utterly alive,”
perfectly capturing the chaotic joy.
Why Does This Gig Feel Like More Than a Birthday Party?
In the end, this transcends a mere birthday bash or festive tradition. It stands as a reminder of why The Wildhearts still matter: their ferocious honesty, musical fearlessness, and emotional unfilteredness, even three decades on.
Ginger may joke about ailments and misfires, but onstage, the band remains a vital force. If this show indicates what’s ahead, the next chapter promises to be volatile, vital, and unmissable.
The Louder Sound piece concluded:
“this feels like far more than a birthday party or a festive tradition. It’s a reminder of why The Wildhearts still matter.”
What Makes The Wildhearts’ Lineup Shine in This Venue?
The night’s success owed much to the band’s synergy. Ben Marsden’s crunchy riffs clashed brilliantly with Carol Hodge’s intense keyboards and Random Jon Poole’s swaggering bass, underpinned by Charles Evans’ muscular drumming.
Ginger’s personal touches—admitting nerves on Splitter, crediting Chris Moyles for Cheers, dedicating Diagnosis to mental health struggles—added intimacy to the venue’s intimate scale.
