The Wombats • Only The Poets • Red Rum Club • October 24, 2025 • The Depot
Reviewed and Photographed by Nate Bonney
On the evening of October 24, 2025, at The Depot in Salt Lake City, The Wombats headlined their “Oh! The Tour,” tour. They had two opening bands that followed them from across the pond. Red Rum Club and Only The Poets.
Red Rum Club
The Liverpool sextet Red Rum Club opened for The Wombats — and what a way to ignite the crowd. Brassy, bold, and effortlessly charismatic, they embarked on a nine-song set that showcased their evolving sound and commanding stage presence.
They kicked things off with “Buck,” instantly setting the tone with confident swagger and an ear-catching hook. From the first chords, it was obvious they hadn’t come simply to warm up the stage — they came to claim it. “Black Cat” followed, its cinematic brass flourishes and taut rhythm section eliciting cheers and some early dancing.
Mid-set, they brought things into sharper relief with “American Nights & English Mornings” — a track that resonated deeply, its lyricism and sweeping chorus played out beautifully against the live drums and trumpet. “Undertaker” maintained the energy but introduced a slightly darker undercurrent, giving the band a dynamic heft more than typical support acts manage.
It was when they reached “Eleanor” that the crowd truly warmed: the melody and sing-along chorus invited the audience in, transforming from a backing crowd into active participants. Then “Vibrate” brought it back to high gear — infectious, punchy and irresistible. “Kids Addicted” ignited the floor, bass throbbing, jumpy bodies bouncing, the energy unmistakable. “Would You Rather Be Lonely?” arrived as penultimate salvo — an anthem built for moments like this — leaving just one more to land the finish. That closer, “Vanilla,” sent the crowd out cheering, shouting the refrain, fully converted.
Throughout, the band seemed not only comfortable in the U.S. rhythm but revelled in it — their brass wasn’t just decoration, it was a driving force. Their frontman’s banter felt genuine, the musicians tight, the transitions smooth. For an opener, they achieved more than warm-up status: they carved out space, claimed attention, and left the stage buzzing.
In summary: Red Rum Club’s set at The Depot was spirited, polished, and full of big-room ambition. If you were there, you felt you’d glimpsed a band on the rise, linking their Merseyside roots with transatlantic reach. If you missed it — consider this your cue to grab the next one.
Buck
Black Cat
American Nights & English Mornings
Undertaker
Eleanor
Vibrate
Kids Addicted
Would You Rather Be Lonely?
Vanilla
Only The Poets
From the moment the lights dropped at The Depot and Only The Poets burst into “JUMP!” the tone for the night was set: energetic, sharp, and emotionally engaging. The UK-based four-piece arrived as the support act but quickly made it clear this wasn’t a mere filler slot—they owned the stage with a confident mix of indie-pop hooks and heartfelt lyricism.
Opening with “JUMP!” the crowd responded immediately: bodies moving, voices warming up. The song’s urgent rhythm and vocal thrust captured that “welcome to the party” vibe, and it was an excellent first impression. From there, they eased into “Over and Over,” revealing a more reflective side. The repetition in the chorus gave it a subtle catchiness, and live, the band elongated the lines just enough to give the audience space to breathe in the moment.
“Emotionally Hungover” brought the mood lower, more introspective, turning the stage lights softer and the dynamics deeper. Frontman Tommy Longhurst’s vocal cracked just enough to evoke the lyric’s weight, and the band allowed little instrumental flourishes—guitar echoes, restrained drums—to fill the gaps. It felt honest.
“Thinking ’Bout Your Ex” shifted back into the realm of the anthemic, the kind of song built for sing-along. The crowd picked up the refrains quickly. Then “Monumental” landed with a punch: perhaps the most anthemic moment of their short set, big hooks, rising chorus, and a chord sequence that had the room leaning in. The venue, which can feel cavernous, shrank for a moment as audience and band locked into the same rhythm.
“All This Time” showed the band’s softer side again—its lyricism thoughtful, melody warm, with a slight wistfulness that matched the night’s ambient glow. Then “I Keep On Messing It Up” closed the set on a high note—self-aware, defiant, and catchy. They walked off to cheers.
In total, Only The Poets delivered a strong, focused seven-song set that balanced energy and emotion. For many fans who came for The Wombats, this was a welcome discovery: a band carving their identity, clearly comfortable in front of an American crowd, and able to hold their own. If they continue on this trajectory, their next time through the U.S. might see them playing headliners rather than openers.
Here is their Setlist:
JUMP!
Over and over
Emotionally Hungover
Thinking Bout Your Ex
Monumental
All This Time
I Keep On Messing It Up
The Wombats
The Wombats took to the stage and delivered a brilliantly manic, hook-laden set that proved why they’ve remained such a compelling force in the indie-rock circuit. The Liverpool trio—front-man Matthew Murphy (vocals/guitar/keys), Tord Øverland Knudsen (bass/keys/backing vocals), and Dan Haggis (drums/keys/backing vocals) hit a sweet spot between nostalgia, new-material confidence, and full-on dance-floor abandon.
They opened with “Sorry I’m Late, I Didn’t Want to Come,” a brisk and cheeky statement of intent that had the crowd on edge and ready for the ride. From there, “Moving to New York” triggered a familiar surge of energy―the kind of early-career anthem that bridged their breakout period into the current tour. With “Cheetah Tongue” and “Techno Fan,” they shifted gears: the former teasing moodier guitar lines, the latter unleashing pure dance-indie euphoria. Analysts have noted how ‘Techno Fan’ captures the band’s willingness to converge indie-rock with surprisingly club-friendly rhythms.
Mid-set stood “Kate Moss,” “Ready for the High,” and “Can’t Say No,” which showcased the band’s evolving sound—less raw post-punk, more shimmering synth-pop edge, yet still anchored by those signature Murphy vocals and sardonic lyric twists. “1996” and “Pink Lemonade” followed, each propelling the audience into full-singalong mode; the lights pulsed and “Pink Lemonade” felt like a sentimental high-wire act, balancing pop catchiness with an undercurrent of wistfulness. Then came “Holy Sugar” and “Tales of Girls, Boys and Marsupials,” the latter letting the band nod back to their Liverpool roots while charging forward.
“Kill the Director” and “My Head Is Not My Friend” deepened things—both familiar enough to evoke fan loyalty, fresh enough to keep the energy there. The acoustic rendition of “Lethal Combination” provided a rare moment of calm before launching into “Blood On the Hospital Floor,” “Tokyo (Vampires & Wolves)” and “Method to the Madness.” Each song built the momentum, the audience reacting with increasing intensity until “Lemon to a Knife Fight” and “If You Ever Leave, I’m Coming With You” teased the home stretch. Finally, “Turn” wrapped the main set—big, bold, and exactly the kind of sweeping anthem one hopes to hear when a headliner is in town.
The encore delivered the knockout blows: “Greek Tragedy,” a textbook moment of euphoria-laced catharsis, followed by their signature “Let’s Dance to Joy Division,” which remains arguably the track that defines The Wombats’ live persona—ironic, joyous, and perfectly built for an uproarious crowd.
In essence: The Wombats didn’t just headline—they dominated. With a setlist that married early anthems with recent gems, and a performance that married sweat, wit and sheer hooks, they proved that indie rock still has room for big gestures and bold melodies. For attendees at The Depot, it was a night of memorable highs, full-on participation, and unmistakably Wombats-style joy.
Here is their setlist:
Sorry I’m Late, I Didn’t Want to Come
Moving to New York
Cheetah Tongue
Techno Fan
Kate Moss
Ready for the High
Can’t Say No
1996
Pink Lemonade
Holy Sugar
Tales of Girls, Boys and Marsupials
Kill the Director
My Head Is Not My Friend
Lethal Combination (Acoustic)
Blood On the Hospital Floor
Tokyo (Vampires & Wolves)
Method to the Madness
Lemon to a Knife Fight
If You Ever Leave, I’m Coming With You
Turn
Encore:
Greek Tragedy
Let’s Dance to Joy Division