The Libertines – Night of the Hunter Review

Reflecting on the earlier rabble of The Libertines’ stock is difficult now. Pete Doherty has become a social pariah who is peddled out occasionally as the rebel boy from decades ago yet is still chipping away, rather impressively, at his fraying band. Their best works their most recent, a far stretch grander than their self-titled troubles, The Libertines are rousing themselves back into a spot of capable songwriting and stronger material. Run Run Run was not their finest hour but proved catchy and an earworm is better than most of the stuff the band put out before their first studio return. Anthems for the Doomed Youth still stand tall, their best album pre-All Quiet on the Eastern Esplanade, though Night of the Hunter is giving the band a run for their money.  

It would have a better shot if its intro did not sound as though samples were taken from Harry Potter and the Philosopher’s Stone though this is no trouble for Doherty – whose acoustic-laden lead is fitted with chimes, bells and brilliance. Doherty sounds like a summary of Britpop parts from the mid-1990s, which makes sense considering he was queuing up for Oasis records way back when. Either Gallagher brothers would kick themselves for the quality and delivery found on this piece from The Libertines, a thoroughly well-stripped-back piece which benefits listener and artist equally. There appears to be closure in one sense for Doherty as the party boy proceeds, he has been taken away for a while and desires change for his own sake.  

But The Libertines are not just a reflection of its frontman, and though he digs deep and pulls out some charming, heartfelt lyrics, some of it is thanks to fellow notorious member Carl Barât. These neat acoustic flavours are well-detailed and beyond the Harry Potter comparison are thoroughly enjoyable and suit Doherty nicely. There is a sense of finality to Night of the Hunter which may tip toward the permanent end of a band whose influence caught the public by a brief storm. Flashing lights, screams of one more go-around when The Libertines must know, at this point, this may be their last hurrah. To go out on a song like Night of the Hunter is a great privilege for any band fighting the current of their image. But for Doherty and Barât, this is a sincere surprise. 

Both can deal with tender tones and relax into self-reflective periods though this may be their finest achievement down this avenue. If this is truly it for The Libertines then so be it, they could not ask for a better second single for their fourth, and perhaps, final record. How much is left in the tank for any artist coming back after decades out of the spotlight is unknowable, but people should be grasping for more of this one. All Quiet on the Eastern Esplanade is so far unpredictable but pieces like Night of the Hunter make up for the static of Run Run Run. Doherty and Barât hit on with fine form and piece together a notable song, perhaps their best of all.