Pete Doherty is back, but not quite as you knew him. Here’s our review of his touching new record.
Pete Doherty is back with an album that feels like a breath of fresh, slightly sea-salted air. Far from the chaos that defined his early career, this new work reveals a more serene, reflective artist who hasn’t lost his spark.
Why should you listen to Pete Doherty?
For those who lived in a cave for the past 25 years, Pete Doherty is an English musician, singer, songwriter, and poet. He’s best known as the co-frontman of the fabulous indie rock band The Libertines, alongside Carl Barât. Thanks to his charisma, his talent, and also his numerous tabloid appearances, the man is considered a key figure in the UK rock revival of the early 00s.
Pete Doherty also formed other great bands, The Babyshambles and the Puta Madres, which we highly recommend. He also collaborated with the equally shy and talented Frederic Lô on the record The Fantasy Life Of Poetry & Crime, issued in 2022.
Always admired, always scrutinized, Pete Doherty evolved like us all, and is now a noteworthy forty-something poetic pokemon who never ceases to impress, despite his sometimes off-key lyrical flights (which he compensates by being a skilled guitarist).
As long-time fans, we were eagerly waiting for his new release, Felt Better Alive.
So, is Felt Better Alive a good record?
Joyful and tender, drifting between sweet lullabies, unexpected flashes of dark humour, and blissful poetry. Such is Pete Doherty’s new record. The guitar remains at the heart of it all, while the voice is soft, playful, almost humming. You can sense that Pete is genuinely happy to be here and to have made it through darker days.
There’s a Beatles-esque quality to the record, in its orchestration, backing vocals, and the frequent shifts in rhythm. The artwork is pink and vibrant, and, in a way, the music feels the same. It’s like listening to a polished, more insightful version of Electric Light Orchestra’s Mr. Blue Sky.
Another strong point is the drums, dynamic and creative, and the subtle touches of piano. They somehow never take centre stage, but instead elevate the album’s rich and uplifting atmosphere. We especially loved the song Calvados, which we recall hearing live, as well as the playful, almost childlike charm of Out of Tune Balloon and Fingee (probably inspired by his young daughter). Also, we definitely have a soft spot for Stade Océan and Pot of Gold, too.
As always with Pete Doherty, the lyrics deserve your full attention. And this time, they certainly don’t disappoint. They’re cynical, brilliant, and endearing. Much like Pete himself. This shines through in tracks like the toe-tapping, almost cowboy-esque Felt Better Alive or the delightfully odd Ed Belly.
In the end, it’s a truly delightful, coherent record — perhaps our favourite of Pete’s recent works. It’s cheerful, nourishing, and filled with good vibes.
Surprises await at every corner. Special mention to the duet with Lisa O’Neill on the fabulous, borderline theatrical Poca Mahoney’s. We adored the circus-like, dramatic flair found both in that song and in Prêtre de la Mer, which echoes the pomp of a grandiose priest’s sermon.
The album closes with the beautiful Empty Room, which wouldn’t be out of place on a Libertines record (and that’s not a bad thing). The circle is somehow complete, and we savour this moment of quiet, already looking forward to Pete’s next triumphs.
In case you’re still wondering: yes, this album deserves a cake (but a non-sugary one, because Mr Doherty has diabetes 😅). Now then, why don’t you pop down the local with me for a pint, and we’ll give it another listen by the fire, eh?
PS: Want more content? Check out the amazing Albion Forever cake we made for this unique artist.
