OK, I’m putting this out there. Within five years, Wunderhorse will headline a major stage at Glastonbury Festival.
Wunderhorse @ The 1865
Is that a bit of a bold claim for a band playing to a 700-cap audience in a provincial venue? Well, let’s look at the evidence. The last time I saw Wunderhorse in Southampton, it was around 18 months ago at The Joiners. As any local live music fans will attest, The Joiners is as magnificent as it is iconic, but it’s less than a third the size of tonight’s space, The 1865.
A couple of days later, I photographed Wunderhorse in London at The Electric Ballroom, capacity 1500. The last time I saw Wunderhorse in London, it was seven months later at The Forum, capacity 2300. On Thursday this week, they play Brixton Academy, capacity 5000. It’s a sell-out, as is every other date on the tour. In May 2025, the next Wunderhorse appearance in London is at Alexandra Palace, capacity 10000. The trajectory is clear. This is the last time I’ll photograph the band on a stage narrow enough to get all four of them in one shot. The case for the defence rests.
Wunderhorse @ The 1865
So, the fan base is growing at an exponential rate. The band are popular, but are they any good? Well, spoiler for the rest of this review: the answer is yes, outrageously so. The first album, Cub, back in the days when ‘Wunderhorse’ was merely the solo project of ex-Dead Pretties frontman Jacob Slater, received wild critical acclaim. Wunderhorse are now a fully-fledged four-piece, and their new record Midas is if anything, even better.
Not surprisingly, the setlist tonight skews more favourably towards the new material and the band open with the title track. It’s a great advertisement of the fact that both Slater and his (stage) right-hand man, fellow guitarist Harry Fowler, are really great players. They both share rhythm and lead parts through what are carefully constructed compositions and they complement each other perfectly. In Midas, it’s Slater playing the rhythm and it’s fast, punchy and extremely tight.
Wunderhorse @ The 1865
Between songs there is barely any interaction with the crowd. This is a band that does their talking with the music and the contrast between the level of intensity (extreme) while it’s going off and the brief periods of calm between the storms is marked. In one of the gaps, there’s a squeaky, lone female voice from the crowd: “We love you, Jacob!” The owner of the voice sounds like she’s already ejected half her vocal chords across the 1865’s floor. It elicits no more than a wry smile from the frontman.
Then, five songs in, Slater breaks the silence: “How ya doin’?” is the simple ask. An unexpected response comes from a drunk who inexplicably invites Slater to get his cock out on stage. There’s another wry smile. “Maybe later, baby”. Turns out his withering put-downs are nearly as good as his music.
By now, I’ve found a slightly privileged spot on the balcony by one of the sound guys. In front of me are a pair of ladies with AAA passes enjoying what is probably the best view in the house. I can see around them to the stage and catch Jacob make eye contact with them. I’ve no idea what their relationship is, but it generates a smile and his eyes light up. It’s a really sweet moment among the angst that otherwise permeates the performance on stage.
Wunderhorse @ The 1865
The band make a habit of jamming instrumental sections before segueing into some of the bigger songs. One of these comes before Cub tune Leader Of The Pack. Slater has a Cry Baby wah-wah that gets slammed so hard he’s in danger of pushing his foot through the floor. Hendrix would be proud. If it wasn’t for pesky heath and safety laws you feel he’d go full Jimi and torch his instrument with lighter fuel.
Leader is followed by Arizona, another of the more up-tempo numbers. It’s one from the new record but has been played live for well over a year and there’s not a soul in here that doesn’t know it. It’s time for a cool down and that comes in the form of Aeroplane, closing track on Midas. In recorded form at least, it’s a near nine-minute acoustic dream drenched in Americana with a haunting, melancholic solo at the close. Jacob takes a seat on the drum riser for it whilst Harry Fowler goes to town.
Wunderhorse @ The 1865
The second guitarist is something of an enigma. His eyes remain closed for 90% of the performance and he sways front and back with his left leg crossed over his right for much of the time. He might not be leaping off the monitors, but his playing is every bit as intense as Slater’s. Notably, he plays with his fingers rather than a guitar pick. He strikes the strings so hard it’s a miracle there isn’t a pool of blood beneath his feet.
Wunderhorse @ The 1865
Back to Cub and Girl behind the Glass. It’s another banger that starts with a tom-tom shuffle courtesy of drummer Jamie Staples. It’s one with huge ranges in dynamics and when it’s loud and intense, it’s super intense. From my balcony vantage point, I notice that heads are bobbing, which is strange because people really should be losing their shit over it. My wife and youngest are five rows back in the downstairs audience. Afterwards, I question them as to what was up with the apparent lack of activity. I’m advised they’d have happily lost their shit if they’d been able to move. There are close to 700 people wedged into the floor space and The 1875 isn’t the biggest venue.
Appropriately the band are drenched in purple for the song of the same name. It’s another favourite from the first record and fortunately, the crowd pick it up a bit – enough for Jacob to spontaneously let them take the last verse on their own. The sound of the words echoing off the walls of the venue is sweet indeed.
There’s another hectic instrumental break into new song Rain whilst Jacob gives the wah wah another going over. This band are in serious trouble if he ever fractures his right ankle. Once the song gets going it’s apparent it’s being played at about 150% speed and it’s quite awesome. The audience forget themselves and make the room to finally let go. This is just as well – it’s the last song. The band leave the stage as all decent rock bands should – with guitars left face up on the stage to feedback until the end of time – or at least until the sound guy fades them down. There are no words for the audience as they depart.
Wunderhorse @ The 1865
When they come back, there’s just four: “Thanks for coming out”. They play Teal, a song that quickly established itself as a highlight in any Wunderhorse performance. Slater plays one jangly riff throughout and Fowler repeats the same short sequence of notes with a slide. It sounds like it should be a bit dull, but it is anything but. It’s an epic story of friendship that contains its fair share of despair but is ultimately life affirming and it builds and builds and builds throughout. The crowd scream the words with all their heart and now they really are losing their shit. Good work. The band walk off a second time in silence and security pass setlists to outstretched hands.
It’s been a fantastic performance from a band in their absolute prime and the smiles on the faces of the people in here is matched only be the ringing in their heads. So, will Wunderhorse headline Glasto within five years? Maybe, maybe not. But is it happens, remember you read it here first.
The Wunderhorse website is here. The band are on Facebook, Instagram and X.
Review of Wunderhorse at The 1875 on 7th October 2024. Words and photography by Simon Reed.
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