The Setlist & The Script

Live Review: The Wombats Close Out Oh! Arena Tour in Euphoric Fashion at Leeds First Direct Arena

There’s always something extra special about the last night of a tour. The final show energy, the emotional crescendos, the everything-left-on-stage mindset, and at Leeds’ First Direct Arena, The Wombats delivered all of that and more as they closed out their UK Arena run in triumphant style. Touring in support of their wildly infectious new record “Oh”, the Liverpudlian indie heroes were joined by two incredible support acts – Red Rum Club and Everything Everything – for an evening that felt like a love letter to the UK indie scene of old, while showcasing its modern-day vibrancy.

Red Rum Club: A Triumphant Return to Arena Heights

For us at The Front Row, seeing Red Rum Club back on an arena stage was a nostalgic and proud moment. Having watched them headline their first arena in Liverpool last year, the six-piece have gone from cult favourites to national treasures without compromising an ounce of their character. Their set was brimming with energy and brassy bombast – frontman Fran Doran swaggering across the stage, tambourine in hand, with the confidence of a band who know their moment is coming. “Vanilla” and “Eleanor” had the early arrivals two-stepping in the stands, while “Would You Rather Be Lonely?” earned the night’s first proper singalong. Their unique blend of mariachi-infused indie rock felt perfectly at home in the cavernous space of Leeds Arena. Expect more big-stage moments from this lot in 2025.

Everything Everything: Genre-Chameleons Make Chaos Look Easy

Main support Everything Everything brought a different flavour altogether. Art-rock shapeshifters with a loyal cult following, the Manchester band have always defied easy categorisation – and their live set underlined exactly why. Jonathan Higgs’ falsetto soared across angular rhythms, unpredictable drops, and euphoric electronic flourishes. Tracks like “Distant Past” and “No Reptiles” sounded colossal, bolstered by their razor-sharp musicianship. They might not be everyone’s cup of tea on first listen, but by the time they play tunes like “Kemosabe,” they’d won over a significant portion of the Wombats faithful.

The Wombats: A Career-Spanning Set that Felt Like a Celebration

From the moment the lights dimmed and the unmistakable drumbeat of “Sorry I’m Late, I Didn’t Want to Come” kicked in, The Wombats had Leeds in the palm of their hand. It’s been almost two decades since the band burst onto the scene with tales of awkwardness and indie disco nights, but on this tour, they’ve never sounded sharper or more sure of themselves.

The Leeds crowd – perhaps sensing the end-of-tour sentimentality – was electric throughout. “Moving to New York” and “Cheetah Tongue” came early, the former still sounding as spiky and infectious as it did in 2007. “Techno Fan” followed with a euphoric bounce, while “Kate Moss” gave a nod to one of the more underrated cuts from Beautiful People Will Ruin Your Life. The staging was slick but never overbearing – clean neon backdrops and playful animations reflecting the tongue-in-cheek nature of much of the band’s work.

One of the evening’s most touching moments came when frontman Murph (Matthew Murphy) introduced “1996”, a deep cut selected by fans for this final night. “This one takes us right back,” he smiled, and the crowd erupted with nostalgic glee. It was followed by the hyperactive Glitterbug classic “Pink Lemonade,” before launching into “I Love America and She Hates Me” – one of Oh! The Ocean’s best – sounding even punchier live than on record.

“Kill the Director”, preceded by a cheeky snippet of “Tales of Girls, Boys and Marsupials,” brought the early-career chaos to the forefront. It’s a song that, even 18 years on, still perfectly encapsulates the band’s mix of manic energy and self-deprecating humour. But the mood soon shifted with one of the show’s most raw and stripped-back moments – “My Head Is Not My Friend”, followed by Murph’s acoustic rendition of “Lethal Combination.” These quieter moments were beautifully placed, showcasing the emotional depth that has often lurked beneath The Wombats’ upbeat façade.

Reinvigorated, the band launched into “Blood on the Hospital Floor” and “Tokyo (Vampires & Wolves)”, the latter greeted like an old friend – arms in the air, lyrics shouted with unfiltered joy. “The World’s Not Out to Get Me, I Am” – one of Oh!’s other standout tracks – was a cathartic burst, before the mood shifted again with a stunning “Method to the Madness.” This song has grown in stature live, with its slow-build tension and explosive climax drawing one of the night’s loudest ovations.

The home stretch was a parade of indie-disco classics. “Lemon to a Knife Fight” and “If You Ever Leave, I’m Coming With You” had the floor shaking, before the inevitable eruption of “Let’s Dance to Joy Division.” It’s still one of the finest live indie anthems in circulation – ironic, joyous, and absolutely massive in a packed-out arena. Thousands of arms linked, fans bouncing and screaming “So let’s dance to Joy Division and celebrate the irony,” as though the last 20 years of UK indie had been building to this one moment.

A Fitting Farewell: Encore Perfection

Returning to the stage after an emphatic roar, the band were visibly emotional. “It’s been an amazing tour. Thank you for being part of it,” Murph said, eyes scanning the crowd. The encore began with “Can’t Say No”, a groove-laden deep cut that had die-hards losing their minds. Then came “Turn”, an anthemic, arms-in-the-air slow-builder that’s taken on classic status since its release.

And finally – because there was only ever going to be one closer – “Greek Tragedy.” The track’s enduring popularity, boosted by TikTok and a wave of new Gen Z fans, made for a euphoric finale. As the confetti cannons fired and the band embraced each other on stage, there was a palpable sense that something special had just wrapped up.

There’s always been a debate around The Wombats – too pop for some rock fans, too quirky for the mainstream. But nights like this prove just how important they are. A band who have grown up with their fans, consistently delivered smart, emotional, and danceable songs, and never lost their sense of humour or perspective.

The Leeds show wasn’t just the end of a tour – it felt like a celebration of everything they’ve achieved over the past two decades. And if the response from the First Direct Arena was anything to go by, they’ll be headlining arenas for many years to come.

Rating: ★★★★★
An unforgettable night of indie euphoria, nostalgia, and confetti-covered catharsis.