There are few bands whose identity has been so closely tied to the unpredictability of the live experience as Babyshambles. From the earliest days, they’ve never been a particularly polished article. Instead, it’s always been about those moments when everything seems on the edge of falling apart, before coming together in the best way. It’s a quality that has made them such a fascinating proposition, and one that makes Live At KOKO an interesting document of their return.
Introduced by Bill Bailey, the band take the stage at the famous Camden venue on 15 December 2025, bringing to a close a reunion tour that has seen them back together for the first time in more than a decade. There’s an obvious sense of occasion, but what is apparent is that this isn’t a case of dusting off the old songs and giving the audience what they came for. There’s a renewed energy about Babyshambles, a sense of a band rediscovering their purpose and enjoying the opportunity to be together again.
Of course, the songs are familiar. Killamangiro, Delivery, Sedative, Beg Steal Or Borrow and Fuck Forever are all part of a catalogue that has long since taken on a life of its own. But familiarity doesn’t necessarily diminish their impact. If anything, there’s something rather wonderful about hearing these songs again, particularly when they carry the same spirit that made them so compelling first time around. There’s a looseness to Babyshambles that has always been part of their appeal, a sense that things could go off at any moment, and in any direction. That remains an important part of their identity.
Perhaps the most affecting moment comes with There She Goes, dedicated by Pete Doherty to Amy Winehouse. He recalls how she watched the band from the balcony the last time they played KOKO. It’s a simple dedication, but one that carries a particular weight in Camden, a part of London so closely associated with both artists. For a moment, the noise and excitement of the reunion give way to something more reflective. It’s a reminder of the people and places that become woven into the stories behind the music, and of those who are no longer around to share in it.
As the set progresses, the atmosphere builds. The crowd noise becomes increasingly prominent, the audience growing more animated as the band move towards the closing stretch. By the time the later songs arrive, there’s a rowdiness to proceedings that feels entirely appropriate. This is not a crowd content simply to stand back and admire the performance. They’re invested, singing along and adding their own voice to the occasion. That sense of connection is what gives a live recording its value, and KOKO clearly has plenty of it.
There’s always a question over what a live album can add when the show itself has already been seen, photographed and reviewed. There’s no new material here, no unexpected reinvention of the Babyshambles catalogue. That’s not really the point though. What Live At KOKO documents is a band finding a renewed sense of life in music that has been around for years. The songs haven’t changed, but there’s a freshness to the performance, an energy that suggests this reunion was about more than revisiting old glories.
For all the chaos, the mythology and the years that have passed, Babyshambles still have that ability to make a gig feel like a special occasion. Live At KOKO captures that feeling really well. It’s a snapshot of a band rediscovering their appetite, and a reminder that some songs never really lose their ability to bring people together.
The album drops tomorrow, 13 November on Strap Originals
