Wunderhorse’s performance at Liverpool’s O2 Academy felt like a pivotal moment for a band coming into its own. In a venue steeped in rock history—where countless future stars have cut their teeth—Jacob Slater and his bandmates delivered a set that showcased both their raw energy and growing maturity. We loved every second of it.
As the band stepped onto the stage, their 90s-inspired look—baggy T-shirts and long sleeves, straight out of a Tony Hawk’s Pro Skater game—set the tone. Behind them, a giant cut-out of their horse-devil logo loomed, a design that begs to be inked on skin. From the start, it was clear Wunderhorse meant business. The four-piece has been building serious momentum since 2020, evolving from a solo project into a band that’s turning heads, especially with the release of their second album, Midas.
The title track from their new album seems like an apt place to start. The gritty riff immediately setting the tone for the night. Slater’s commanding vocals filled the venue as he warms up the crowd before the song really hits it’s stride. From the outset, Wunderhorse’s new material displays a striking maturity, with storytelling that echoes the likes of Neil Young and, at times, Radiohead. Themes of corporate and government greed—territory well-trodden by Thom Yorke and Young—are at the heart of many songs. “The voice inside the suit came crawling through the telephone,” delivering a pointed critique of corporate greed and a sense of being ripped off.
Sadly the latter seems to be the everyday life for the everyday person at the moment. I mean, how much did you pay to watch Wunderhorse on their second album tour? Too much, that’s how much. Do you see what we mean? You get the sense Wunderhorse are channelling the every day man here. There is a raw, grunge-inflected sound to go along with that, something you could imagine Kurt Cobain doing back in the day. It conveys anger, frustration and other negative feelings towards todays climate. It makes for an intense and immediate performance. Confrontational and powerful. As a side note, their latest album Midas was recorded live at the legendary Pachyderm Studio in Minnesota (birthplace of Nirvana’s In Utero). They get it.
Closely followed by more new songs, Emily and Girl, showcasing the bands knack for crafting irresistibly catchy tunes that linger long after they’re played. The proof? A sea of phones lit up the crowd, eager to capture the moment. Wunderhorse’s sound is evolving rapidly, and the new material feels exciting. The interplay between the frontman and the rest of the band is for all to see when they really get into their stride with Cathedrals. Not only is it, raw and powerful, it’s also very melodic, with some really intricate rhythm sections that gets our feet stomping. Their recent support slots for heavyweights like Fontaines D.C. and Pixies has clearly helped the band hone their craft, and it shows. On evidence of tonight’s performance, they’ve clearly been taking notes.
The band give the fans a breather with Aeroplane again showcasing the strength of Wunderhorse’s song writing, a quite song that allows the lyrics to take centre stage. “I got an aeroplane in my backyard,” Slater sings, a poignant image of potential and adventure now lying dormant. Themes of damage, fear, and longing permeate the ballad, striking an emotional chord with the crowd. It’s a moment of reflection that hits us in the feels.
Closing the main set with Rain was a smart move. Its gradual build-up kept the audience hanging, before erupting into a final, explosive moment that had the whole venue roaring. It’s clear Wunderhorse already have a devoted fan base. While the new material feels immediate and fresh, the crowd’s reaction to older songs like Teal and Butterflies during the encore was electric. This wasn’t a sea of phones but people fully immersed in the moment, losing themselves to the music. These aren’t casual listeners; they’ve followed the band’s journey from the start, witnessing their evolution. You could say they’ve been there since Wunderhorse was just a foal. (We’re not sorry for that one.)
As the final notes of July rang out, with Slater’s impassioned delivery of “I’m ready to die” hanging in the air (and we thought we hated Mondays), there was a palpable sense that we were witnessing a band in transition, occupying that sweet spot of being the cool new band to listen to before they hit it big time. Tonight wasn’t a breakthrough moment—those rarely happen in reality these days. Instead, it was another solid brick in the foundation of what promises to be a long-standing structure in the British rock scene. From punk roots to surf breaks, from supporting act to headline potential, Wunderhorse’s journey has been one of steady growth. And if this night was any indication, that upward trajectory shows no signs of slowing down—unlike our ability to come up with horse puns, which is rapidly descending into flogging a dead horse territory.
Go Places Do Things 