So said Pete Doherty whenever his band The Libertines first made it onto the cover of NME in June 2002. The humble bragging and pseudo-intellectualism radiating from that quote is one of the many reasons why so many took to the band. And who could blame them?
With the 25th anniversary of punk in the air, the recent arrival of the Strokes in Britain and eclectic nightclubs like London's Trash and Glasgow's Optimo helping to shape the tastes of a generation, it was evident that something was brewing. Something that was utterly of the moment but was perfect for the retroculture that became the 00's.
As well as this, the ramifications of Napster and illegal downloading had left the traditional record business in a state of flux but had allowed bands to build fanbases by connecting with likeminded people online before the introduction of MySpace changed the game altogether. Speaking in 2014, Johnny Borrell (Razorlight) described the shift:
This whole period . . . was a fucking revolution for A&R. Back in the day, A&R meant going out to gigs and watching bands, but in this era, it became sitting at your computer trawling Myspace, then Facebook and YouTube, for the freshest, youngest thing going. Bands weren’t allowed to develop on their own before they were swept up in the machine . . . And it wasn’t just the labels . . . what we all witnessed over this era was many magazines and radio programmers switching from having an actual editorial perspective, to being run as focus groups for companies to shift products to 16-24 year olds. And I mean that very literally: groups of kids in a room being played demos to see which they liked most, in order to boost advertising from Motorola or whatever.
Proof that Reginald C. Dennis was correct: the industry is like the Borg in Star Trek as it adapts, consumes and sets the agenda.
Whether I liked it or not, this music helped shape my formative years (14 in 2000 and 24 in 2010) and to see it now be the subject of retrospectives about ‘indie sleaze’ (a term no-one used at all in this time period) is more than a little disconcerting. However, there is no doubt that it is an interesting period to look back on. Not just from the tech aspect but also from a cultural and historical perspective.
Cards on the table here, very few of the bands in here did anything for me (the sole exception being Franz Ferdinand who were something else entirely). Regardless, a music book can still be great even if one has no interest in the bands covered.
So Janine Warren deserves kudos for interviewing some of the illuminati from that scene (The Libertines, Bloc Party, The Futureheads, Maximo Park, The Long Blondes) and ensuring that their stories aren’t relegated to beer-soaked memories but are placed in the proper context.
The most interesting chapters revolve around sexism in the industry, the epoch defining success of the Arctic Monkeys, the increasing corporatisation of the scene and the ghoulish following that Pete Doherty attracted (increasing tenfold when Kate Moss showed up). While some of the quotes have a strong whiff of revisionism about them (I highly doubt Paul Smith from Maximo Park genuinely thought in 2005 that leaving pronouns out of his lyrics would make them more inclusive) and other quotes are telling inditements on what effect an elitist mindset has on you (Alex Kapranos dismissing Web 2.0 as your racist granny having a Facebook account), the participants offer up sobering recollections of those times and question their own complicity in how things turned out.
Whether one agrees with them or not, it is nice that there’s no room for mythology and that, having been in the eye of a diminishing storm (end of traditional record sales) as well as being engulfed by a larger one (tour, tour, tour), there is some clear-headed perspective and a willingness to admit to faults.
One thing that did interest me was just how little discussion there is of September 11th and 7th July as well as there being no mention of the Jean Charles de Menzes killing. For me, these are seismic events which have shaped modern Britain in ways which we’re still coming to terms with over two decades on. And yet, with the ham-fisted exception of the Rakes (whom the title of this book comes from), very few tried to tackle the events head on and if they did it was fed into a general malaise about modern life and the rat race, thereby reducing these historical events to matters of personal psychology.
Regardless, this is an entertaining and considered book that attempts to wrestle the ‘indie sleaze/landfill indie’ tags away from a scene that was derided for years. While it certainly doesn’t make me want to reappraise The Duke Spirit or White Rose Movement, it did entertain me and left me thinking that it wasn’t the worst time in the world.
Janine Warren, 2026, The World Was a
Mess But His Hair Was Perfect: The Last Indie Music Scene 2000-2010.
Omnibus Press. ISBN-13: 978-1915841261






















