Image via I, Will
“I could get rid of it all
for the sake of the Bethel Woods"
The opening lines of Midlake’s energetic 2022 single 'Bethel Woods' ring out in the anticipatory thrum of Camden’s Electric Ballroom, setting the stage for the quintessential folksy charm and nature-mindedness that defines the band.
Twenty years on from their seminal LP The Trials of Van Occupanther, Midlake return to London with their whimsical blend of woodwind-folk and indie rock. Between songs, frontman Eric Pulido chats casually with the crowd. He tells stories of the band's early days; signing their first record deal with British label Bella Union, mastering their records at London’s iconic Abbey Road studios, and gaining a fondness and a connection to the city. Despite being so far from their home in Denton, Texas, Pulido appears to view London as the band's 'home from home', somewhere close to the band's heart and deeply intertwined with their story and influences.
Despite touring in support of their new record A Bridge To Far, the show feels more like an ‘eras tour’ style journey through the band’s history, representing each distinct era of their discography since 2006. From the 70s-inspired homage to the likes of Neil Young in 'It Covers the Hillsides' (played live for the first time since 2007), to the heavier and moodier sound of 'Antiphon' — written in response to former frontman Tim Smith’s departure from the band in late 2012 — Midlake capture a wide spectrum of sounds and emotions, beautifully conveying how the band have evolved over the years.
New songs – including A Bridge to Far’s opener ‘Days Gone By’, an entrancing musical dawn chorus of flutes, soft vocals and acoustic guitar, building and intermingling like the natural world waking from a long hibernation – fit seamlessly alongside Smith-era classics such as ‘Roscoe’ and ‘Acts of Man' on the live stage.
The main set closes with what is possibly their best-known track, ‘Head Home’. It was a poetic finish to the set, with the crowd singing along to the song's sincere simplicity:
“Bring me a day full of honest work
and a roof that never leaks
I’ll be satisfied"
Finally, the band return for a powerful one-song encore of ‘The Old and the Young’, a heavy and high-energy rock ‘n’ roll affair with an improvised jam section in the middle. Here, drummer McKenzie Smith truly cemented himself as one of my favourite live drummers (I did catch a stick at the end of the show, so perhaps I am a tad biased...).
Short yet sweet, with only 15 songs in total, Midlake leave us satisfied – yet sufficiently wanting more.
When that ‘more’ will come? Who knows. They’re one of those impossible-to-predict bands known to take over a decade between LPs – or just a few years. We will simply have to make the most of the new material and hope for the best.
Either way, they show no sign of letting up in the quality of the music they produce, with 2025’s A Bridge To Far quickly becoming one of my favourites amongst their discography. Similarly, their live presence never seems to dwindle or diminish.
Despite their obvious 70s influences, drawing heavily from Neil Young, Fleetwood Mac, Jethro Tull and more recent bands such as Radiohead, Midlake have a mystical timelessness to them that will hopefully last for years to come. Their music's recurring themes of peaceful solitude and a need to reconnect with nature remain just as resonant in 2026 as they first did twenty years ago.
"Let me not be too consumed with this world
sometimes I want to go home
and stay out of sight for a long time"