In 70 minutes that are as simple as they are encore-free, Wet Leg sweep over their Munich audience in the style of an indie rock force of nature.
It is nothing less than a demonstration of strength with which Wet Leg start their sold-out concert. Less than five seconds on stage, frontwoman Rhian Teasdale stands like a statue in artificial fog and flexes two biceps to the first notes of “Catch These Fists”, the enormous size of which is still clearly visible even in the back rows.
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From hype to metamorphosis
Rhian Teasdale in a muscular bodybuilder pose in a sleeveless mini dress – this is also the condensed documentation of a transformation. It was just three and a half years ago that Teasdale and Hester Chambers, who was always in the background live due to social anxiety, triggered a post-pandemic indie rock hype that no one saw coming with their debut and plenty of raunchy mischief.
Between Grammy glory and empowerment
Since then, between a warm shower of Grammy and Brit Awards, Teasdale’s outing, the release of the famous second album MOISTURIZER and an expansion from a duo to a quintet, so much has happened with the band from the British Isle of Wight that you can only really grasp their metamorphosis with the transformation of Teasdale’s stage persona.
Body positivity instead of restraint
While she once stood on stage in flowing clothes to protect herself from the aggression of the male gaze, her introductory musical demonstration is the starting signal for a maximally body-positive empowerment show in which every lascivious swing of the hips becomes a statement. No wonder when you consider that on MOISTURIZER Wet Leg celebrate an aggressiveness that lies just as much in Teasdale’s crazy Aphex Twin grin on the cover as especially in the songs with which they frame this 19-number gig.
Energy, attitude and humor
And so a concert unfolds under the chandeliers of the suburban concert hall, where Wet Leg welcomes and fareswells with the hyper-energetic dance rock of “Catch These Fists” and the wonderfully hooky “Mangetout” and happily distributes peppered ass kicks into toxic men’s asses – and in between delights everyone present in the room with an indie rock throw that has been heard in this danceable perfection ever since no longer heard of it in the golden noughties.
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Songs that speak for themselves
Who needs long-winded encouragement when you can let the songs speak for themselves, the five up there seem to think – and rightly so. The explicitly formulated horniness of the sinister, drunken stunner “Pillow Talk”, the couch potato hit “Chaise Longue”, which is belted out with collective heart and soul right down to the mini-dialogue lines, or the sugar-sweet miniature “Being In Love” as a tailor-made love reflection – all of this and much more leaves you astonishingly happy after just 70 minutes without an encore.
Everything was said.