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Carl Ashley Raphael Barât (/bəˈrɑːt/;[1] born 6 June 1978) is a British musician best known for being the co-frontman with Pete Doherty of the indie rock band the Libertines. He was the frontman and guitarist of Dirty Pretty Things, and in 2010 debuted a solo studio album. In 2014 he announced the creation of his new band, the Jackals.[2]

Early life

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Carl Barât was born in Basingstoke, north Hampshire, England, on 6 June 1978, and spent most of his childhood in nearby Whitchurch, Hampshire. In a September 2004 interview with Blender, Barât mentioned he is of French, Russian and Polish descent.[3]

As a youth, Barât divided his time between his divorced parents. His father, a former artist, worked in an armaments factory, and his mother, Chrissie, was part of the commune-dwelling counterculture and a member of peace groups such as the Campaign for Nuclear Disarmament.[4] Barât spent part of his childhood living with his mother on a commune in Somerset. He has one sister, actress-turned-singer Lucie Barât, who played Helen's handmaiden in the 2004 film Troy, founded publishing house and artistic organization Little Episodes, and is currently the lead singer of the Au Revoirs.[5] He also has three half-siblings, one step brother and one step sister.

In 1996, Barât was studying for a drama degree at Brunel University at the campus in St. Margarets, Twickenham. Although he dropped out halfway through, during his time he became well-acquainted with Pete Doherty's sister, Amy-Jo and through her, Barât met Doherty.[4] They soon developed an intense friendship based on a shared interest in music and songwriting. Barât and Doherty also developed a shared mythology in which they were on a ship called 'The Albion' sailing to 'Arcadia'. After both dropped out of university, they formed the Libertines. The band includes bassist John Hassall and drummer Gary Powell. Barât and Doherty are co-frontmen, sharing songwriting, vocal and guitar duties.

Career

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The Libertines

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Main article: The Libertines

The Libertines' first album, Up the Bracket, was released in 2002 to critical acclaim. The band appeared on the cover of NME before the album was released and rapidly rose to fame in the UK. Referring to their relationship in a January 2010 interview, Barât said, "... it's a deep love. Deep love does funny things to people".

In 2003, Doherty's addiction to heroin and crack cocaine led Barât to ask him not to participate in the band's next tour. When Doherty discovered that the Libertines had left without him to perform in Japan he broke into Barât's Mayfair flat and stole various items, including an antique guitar and an NME Award. He was convicted and sentenced to six months in prison (this sentence was later shortened to two months). Barât warmly welcomed Doherty back to the Libertines on the day of his release, and they later performed an impromptu "Freedom Gig" at the Tap 'n' Tin club in Chatham, Kent on 8 October 2003.[6] A photograph of the gig, taken by Roger Sargent, adorns the Libertines' self-titled second album, The Libertines, and the cover of Sargent's and Anthony Thornton's book, The Libertines Bound Together.

Doherty's drug addiction continued while the band worked on their second album (the aforementioned The Libertines) in 2004, which strained his relationship with Barât. Bodyguards were needed in the recording sessions, allegedly to prevent Barât and Doherty from physically assaulting each other (though this is claimed to be an exaggeration of the press in Bound Together) and to keep Doherty's hangers-on away from him.[7] Before the release of the album in 2004, relations between Barât and Doherty reached a breaking point and Doherty was once again prevented from performing with the band before addressing his addictions. Doherty did not take the ultimatum well, especially as the Libertines continued touring without him to fulfill contractual obligations.[7]

What was intended as a short leave of absence turned into something more permanent, as Doherty formed a new band, Babyshambles, and the Libertines officially disbanded after their final gig in December 2004.

On 15 May 2009, Barât, Doherty and Powell of the Libertines played on stage together for the first time since the split in 2004. The Libertines (minus Denmark-residing bassist John Hassall) came together for a tribute gig for their late promoter, Johnny Sedassy. The six song set, which included "What a Waster", "Up the Bracket" and "Death on the Stairs", was played after Babyshambles appeared on stage. Barât said the show was a 'one off', although he said more shows could not be ruled out. Barât also expressed his desire to get on stage with Doherty again, although perhaps not until 2010. Powell also confirmed that he would be interested in a full reunion, although he wished to "readdress old ghosts first".[8]

The Libertines delighted their fans by announcing that year that they would be headline artists at the 2010 Reading and Leeds Festivals. Their set and the characteristic chemistry between the pair, was for many people one of the highlights of the weekend.[9]

In April 2014 the Libertines announced they would again reform for a show at London's Hyde Park.[10][11] In November 2014 the band signed a record deal with Virgin EMI Records, and released their third album, Anthems for Doomed Youth, on 11 September 2015, leading to Headline slots at Reading and Leeds, T in the Park as well as a surprise slot at Glastonbury.[12][13] They toured across 2016 and 2017 finishing with a tour across the seaside.

Dirty Pretty Things

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Main article: Dirty Pretty Things (band)
Barât in 2005

On 15 September 2005, it was announced that Barât was forming a new band.[14] His bandmates included former Libertines drummer Gary Powell; Anthony Rossomando, who filled in as guitarist following Doherty's departure from the group; and Didz Hammond, formerly of the Cooper Temple Clause, on bass. It was later announced that the band's name was "Dirty Pretty Things".

The group played their first shows in Italy and Paris, France, in October 2005, before recording their debut album in November 2005 in Los Angeles, California. This was produced by Dave Sardy, who has also worked with Supergrass, the Dandy Warhols, Jet, Marilyn Manson, the Rolling Stones, and Oasis. The album – entitled Waterloo to Anywhere – was released on 8 May 2006 in the UK and 8 August 2006 in the US.[15]

Their first studio recorded demo, "Bang Bang You're Dead", was released on their website in the form of a flash video. This song was released as their debut single on 24 April 2006 and reached number 5 in the UK single chart. This coincided with the latter part of their first tour of the United Kingdom, which spanned from 26 February to 24 May 2006. Their debut album, Waterloo to Anywhere, was released on 8 May 2006, and reached number 3 in the UK album chart. They have since released "Deadwood" and "Wondering".

The band were forced to postpone their Real Fits fundraiser gig, which had been set to take place at the London Hackney Round Chapel on 20 June 2008 as Barât was rushed to hospital on 17 June with acute pancreatitis.[16] He was released from hospital on 22 June.[17]

The band released their new single, "Tired of England", on 23 June 2008, and their album, Romance at Short Notice, a week later on 30 June.

Their album failed to chart highly despite heavy touring schedules. Powell wrote in the band's message board that it had been a difficult year. On 1 October 2008, Dirty Pretty Things split up, though they finished their final tour which began in Glasgow on 4 October and ended in London on 20 December.[18][19]

Solo work and contributions

[edit]

In 2005, Barât modelled for clothing brand J. Lindeberg, along with Juliette Lewis.[20]

In 2008, Tim Burgess stated that he and Barât had a supergroup the Chavs and planned to record their debut album in August that year.[21] A release never happened.

Barât toured as a solo artist with Glasvegas, performing with them at Edinburgh's Hogmanay celebrations on 31 December 2008,[22] and at the Popscene in San Francisco on 8 January 2009.[23] On 14 January 2009, Barât supported Glasvegas with a solo show during their gig at the Los Angeles Troubadour .[24]

Barât played his first headline solo shows on 6 and 7 March 2009 at the Wakefield Escobar.[25] He also played at the KU Bar in Stockton-on-Tees on 8 March. On 9 June 2009, Barât debuted two new songs, "So Long" and "Monday Morning" at a solo show at Dunfermline's Carnegie Hall.[26] On 2 September, Barât confirmed his intentions to release a solo album.[27] Barât also produced the debut EP "Scapegoat" of London-based singer-songwriter Kieran Leonard which was released in October 2009.[28]

He released his self-titled, first solo album on 4 October 2010. In an interview with C.B.Liddell of Metropolis magazine he described the album as "the first album I've done that is kind of introspective rather than escapist."[29] In the same interview, he also talked about "stepping away from big loud guitars" as the album is stylistically more diverse and less rock-oriented than previous work. The release of Barât's first solo album also coincided with the release of Threepenny Memoir: The Lives of a Libertine, an autobiography documenting his years in The Libertines and Dirty Pretty Things.[30]

In January 2013 Barât announced that guitarist Johnny Marr (formerly of the Smiths) and drummer Andy Burrows (formerly of Razorlight and We Are Scientists) would feature on his second solo album, due for release in 2013.[31] Barât revealed demo versions of tracks 'War of the Roses' and 'Victory Gin' from his second solo effort online.[32][33] Also in 2013, Barât wrote the track "The dark, it comes" for French singer Vanessa Paradis' album Love Songs, on which they duet.[34]

He is part of the supergroup The Bottletop Band with Matt Helders (Arctic Monkeys), Andy Nicholson (Arctic Monkeys), Drew McConnell (Babyshambles) and Gruff Rhys (Super Furry Animals). The band's single, "The Fall of Rome", was released in December 2010.[35]

In 2014, Barât contributed the song "Love Is Not on Trial", co-written with Davey Ray Moor, for Marc Almond's album The Dancing Marquis. He also contributed vocals and guitar to the track.[36]

Carl Barât and the Jackals

[edit]

In August 2013, Barât announced that his second solo album was complete and he had finished recording it with Joby Ford of the Bronx. He expressed that it was a return to guitar orientated rock stating "It would seem that my relationship with my guitar is all patched up."[37] Later he said that he wouldn't release the new material until he'd formed a new band.[38]

In early 2014, Barât announced that he would search for a new band online via Facebook. From over 1000 applications for the positions of rhythm guitarist, drummer and bass guitar, Billy Tessio, Jay Bone and Adam Claxton were chosen, respectively. The band was named the Jackals, and their first live concert was on 15 May 2014 in London's XOYO.[38] On 16 February 2015, Barât's previously recorded material was released through Cooking Vinyl with small changes, as the debut album of Carl Barât and The Jackals under the title Let It Reign. It has a score of 67 on review aggregator Metacritic, indicating "generally favorable reviews".[39]

Acting and TV

[edit]

In 2005, Barât and his friend, Adam Green of the Moldy Peaches appeared in a documentary following the pair on a night out in London.[40]

On 7 July 2006, Barât announced that he would become the fifth mentor in the Road to V competition,[41] which involved a UK search for the best unsigned music talent in the UK, with the winner opening V Festival in either Chelmsford or Staffordshire.

In 2008, he acted in the British film Telstar, in the role of rock 'n' roll singer Gene Vincent. The film premiered at the London Film Festival on 25 October 2008 and was released on 19 June 2009.[42][43] He also featured in an advertisement for BBC Two's The Culture Show, being asked about British culture.[44] A longer version of his interview can be found on the Culture Show website.[45]

In May 2009 Barât featured as himself in a pilot episode for Svengali, alongside former manager Alan McGee and Welsh actor Jonathan Owen, and went on to appear as himself in the film version of Svengali (2013), directed by John Hardwick.[46][47] On 25 August 2009, a short video entitled "Two British Dudes" featuring Barât and fellow musician Har Mar Superstar was released on crappyholidays.net.[48]

In January 2010, he appeared in the stage play Fool For Love alongside actress Sadie Frost. The play ran until March 2010 at Riverside Studios in Hammersmith, London.[49] Barât also narrated a new artist documentary, Mark Donne's The Rime of the Modern Mariner. The film had its world premiere at St Anne's Church in Limehouse, East London, during the ninth East End Film Festival. Barât's former Dirty Pretty Things bandmate Anthony Rossomando composed the score for the film.[50]

Barât made his opera debut in 2012, as Nero in Pop'pea at the Théâtre du Châtelet in Paris; the show was a rock adaptation of Il Nerone.[51] In the same year he played the role of Gavin Metcalf in Dan Turner's film The Man Inside, and had a cameo appearance on the BBC Three TV series Dead Boss.[52][53]

Personal life

[edit]

In 2005, Barât underwent surgery to remove a tumour behind his ear and spent several weeks recovering from the operation. The tumour and resulting surgery left him partially deaf.[54]

Barât's girlfriend, Edie Langley, gave birth to the couple's first child, a boy named Eli on 9 December 2010. Their second son, Ramone, was born on 26 August 2014. Barât lives with his family in Margate, Kent.[55]

In 2012, Barât was awarded an honorary doctorate by the University of Winchester for his contribution to the arts.[56]

Equipment

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Guitars

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Amps

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Pedals

[edit]

Discography

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See also: The Libertines discography and Dirty Pretty Things discography

Albums

[edit]

Solo

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Carl Barât and The Jackals

[edit]

Singles

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Title Year Peak chart positions Certifications Album
UK BEL
(FL) 		IRE NZ SWI
"Bridge over Troubled Water"
(as part of Artists for Grenfell) 		2017 1 26 25 – [A] 28 Non-album single

Notes

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Carl Barât

View on Grokipedia
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Carl Ashley Raphael Barât (born 6 June 1978) is a British musician best known as co-founder, co-lead vocalist, and rhythm guitarist of the indie rock band the Libertines. Barât, who grew up in Whitchurch, Hampshire, formed the Libertines in the late 1990s with Peter Doherty after meeting at Brunel University, where he studied drama before dropping out. The band's raw garage rock style and chaotic live shows contributed to the early 2000s post-punk revival, with albums like Up the Bracket (2002) and The Libertines (2004) achieving commercial success despite internal strife driven by Doherty's heroin addiction, which led to the band's initial dissolution. Following the split, Barât fronted Dirty Pretty Things from 2005 to 2008, releasing two albums that maintained his punk-inflected songwriting. He pursued a solo career with his 2010 debut album Carl Barât, and the Libertines reformed in 2010, continuing to tour and release music, including All Through the City (2024).

Early life

Family background and childhood

Carl Barât was born on June 6, 1978, in , , . His parents, Christine (Chrissie) and Derek (Raf) Barât, divorced shortly after his birth, leading to an unstable upbringing marked by frequent moves between their households. Barât's father, a former artist, worked in an armaments factory, while his mother was involved in countercultural peace movements and commune life, reflecting a bohemian influence on the family. Much of Barât's early childhood was spent shuttling between his parents in small-town and other locations, including time living with his mother on a commune in . He has one younger sister, Lucie Barât, who later pursued careers as an and singer. Barât's ancestry includes English roots alongside French, Russian, and Polish heritage, as he has personally noted in interviews. This fragmented family dynamic, described by Barât as rooted in his parents' lifestyles, contributed to a peripatetic youth without a fixed hometown base.

Education and early musical influences

Barât was educated at Testbourne School in , where he spent much of his secondary schooling, followed by Cricklade College in Andover. His early years were marked by time split between his divorced parents—his father working in an armaments factory and his mother involved in a hippy commune supporting counter-cultural causes—which exposed him to alternative lifestyles and likely informal musical environments. In 1996, at age 18, Barât enrolled in a drama degree at Brunel University's Twickenham campus in St Margarets, , completing two years before dropping out. There, introduced by Doherty's sister Amy-Jo, he met , sparking their musical collaboration and the formation of , which prompted his departure from studies. In recognition of his later career achievements, Barât received an honorary doctorate from the on 26 October 2012. Barât's early musical influences drew from and punk eras, shaped by his parents' hippy backgrounds and commune experiences. He has highlighted tracks such as David Bowie's (1971), The Clash's punk energy, Bob Dylan's songwriting, and The Jam's style as formative in developing his raw, narrative-driven approach to . These selections, cited as inspirations for ' sound, reflect a blend of , 1970s glam, and late-1970s rebellion that aligned with his counter-cultural upbringing, though he began formal musical pursuits primarily during university. No pre-Libertines bands are documented, indicating his serious engagement with music commenced around age 18.

Musical career

The Libertines: Formation and early years

Carl Barât and met in the mid-1990s while Barât was studying drama at Brunel University in , where he shared student accommodation in Richmond and befriended Doherty's sister, Amy-Jo, who facilitated their introduction. Despite initial arguments—Barât later described Doherty as argumentative and "contentious"—their shared affinity for bands such as and fostered a close bond. Doherty relocated to in 1997 to pursue English studies at Queen Mary University, after which the pair abandoned their academic paths to form that year, initially as a duo focused on songwriting and shared vocals—Barât encouraged Doherty to learn guitar to enable this arrangement. The band expanded with bassist John Hassall and drummer Gary Powell, solidifying the core lineup that defined their raw, poetic sound rooted in punk influences and themes of romance and Albion nostalgia. Early compositions included tracks like "Albion" and "France," performed in nascent sets. From 1997 to 2001, honed their craft through relentless low-key performances in venues, including impromptu "guerilla" gigs in their Camden flat, pubs, and squats, often promoting via early methods to build a following. Notable early shows occurred as early as 1999, with surviving footage capturing chaotic energy, and included unconventional spots like a where an audience member reportedly died mid-performance. The group traveled to gigs via , hauling amplifiers, and occasionally faced disruptions such as police interventions. By late 2001, after signing with in December, released their debut single "What a Waster" in January 2002, which charted modestly but signaled their rising underground buzz ahead of the full-length . This period established Barât and Doherty's volatile yet creative partnership as the band's driving force, emphasizing unpolished live dynamism over polished production.

The Libertines: Breakthrough albums and internal conflicts

The Libertines' debut album, , released on 14 October 2002 and produced by Mick Jones of , marked their breakthrough in the UK scene, peaking at number 35 on the despite limited initial promotion. The record's raw revival sound, drawing from influences like and , garnered critical acclaim for its energetic tracks such as the title song and "Time for Heroes," establishing the band—comprising Carl Barât, , John Hassall, and Gary Powell—as a to polished acts. Touring in support amplified their notoriety, with chaotic live shows embodying the band's hedonistic ethos, though Doherty's escalating and use began straining relations, particularly with Barât, who viewed it as a destructive force undermining their creative partnership. By mid-2003, Doherty's had intensified, leading to multiple arrests and a conviction; he pleaded guilty to stealing items including a from a fan's flat on 6 August 2003, resulting in a six-month sentence starting that October, which exacerbated tensions as Barât distanced himself to protect the band's momentum. Barât publicly expressed desperation over Doherty's refusal to seek sustained rehabilitation, highlighting a core conflict: Barât's push for clashed with Doherty's chaotic lifestyle, including repeated relapses and legal troubles that disrupted rehearsals and recording sessions. Despite this, Barât awaited Doherty's release from Ford on 24 October 2003, allowing a fragile reconciliation to proceed with work on the second album, though trust had eroded, with Barât later describing the period as one of enabling versus confrontation. The self-titled second album, , recorded amid these fractures and again produced by Jones, was released on 30 August 2004, debuting at number one on the and featuring hits like "Can't Stand Me Now," a reflecting Barât and Doherty's fraught brotherhood. The album's introspective lyrics candidly addressed their discord—Doherty's verse in the alluded to betrayal and reconciliation—yet its commercial peak masked deepening rifts, as Doherty's post-release drug binges and unreliability prompted Barât to eject him from the band multiple times during sessions. Internal conflicts peaked with physical altercations and ultimatums; Barât, prioritizing the band's survival, ultimately disbanded in late 2004 after Doherty formed , citing irreconcilable differences rooted in addiction's toll on reliability and creativity. This era underscored causal links between Doherty's substance issues—admitted as and crack dependency—and the group's volatility, with Barât's interventions failing to avert the split despite shared artistic triumphs.

Breakup, Dirty Pretty Things, and interim projects

The Libertines effectively disbanded in late 2004, following the release of their self-titled second album in July and amid mounting internal strife driven by Pete Doherty's addiction, legal troubles including multiple imprisonments for and possession, and resulting unreliability for gigs and recording. Barât, who had attempted to manage without Doherty during his absences—employing stand-in musicians and even hiring security to prevent physical confrontations between the co-frontmen—ultimately deemed continuation untenable, stating in November 2004 that the group would end by year's close absent Doherty's rehabilitation. Doherty's erratic behavior, including a onstage meltdown during shows earlier that year, exacerbated the fractures, though Barât later rejected narratives framing him as the sole instigator of the split. In response, Barât founded Dirty Pretty Things in September 2005 as a new outlet for his songwriting, recruiting Libertines drummer Gary Powell, bassist Didz Hammond (formerly of The Cooper Temple Clause), and guitarist Anthony Rossomando to form a quartet emphasizing raw garage rock energy. The band toured extensively, including a North American run in August 2006 and UK dates, building a fanbase through high-energy performances that echoed Libertines' chaotic ethos while avoiding Doherty's volatility. They released two albums—debut Waterloo to Anywhere in June 2006, which peaked at number 2 on the UK charts, and follow-up Victory for the Magpie in September 2008—before announcing their dissolution on October 1, 2008, via NME, with plans to wrap a final autumn tour and pursue individual endeavors separately. Barât attributed the end to creative stagnation and a desire to escape a "comfort zone," predating his solo pivot, while clarifying no Libertines reunion factored into the decision. Beyond Dirty Pretty Things, Barât's interim activities from to the mid-2010s Libertines overtures included sporadic collaborations and exploratory solo recordings, though none coalesced into major releases until 2010; he also contributed to soundtrack work and maintained ties to London's indie scene through informal gigs and production efforts, fostering groundwork for later reunions without formal band commitments. In May 2009, Barât joined Doherty and Powell onstage for the first time since at a one-off event, signaling thawing relations amid ongoing personal recovery from shared substance struggles.

Solo work and Carl Barât and the Jackals

Following the breakup of Dirty Pretty Things in 2008, Barât launched a solo career with the release of his self-titled debut album on 4 2010. The record, which included the "Run with the Boys" issued concurrently, featured production contributions from and string arrangements by Amy Langley and Leo Taylor. Barât handled guitar solos on several tracks, emphasizing his instrumental role alongside songwriting credits shared with Wyatt. As Barât began developing material for a follow-up solo effort around 2013, he shifted toward a collaborative band format, posting a advertisement to assemble the lineup for Carl Barât and the Jackals in early 2014. The group comprised Barât on vocals and guitar, Billy Tessio on guitar, Adam Claxton on bass, and Jay Skinny on drums. They performed their inaugural concert on 14 May 2014 at The Social in . The Jackals' debut album, Let It Reign, was recorded in under the production of Joby J. Ford of and released on 16 February 2015 via . The 10-track effort opened with "Glory Days" and incorporated themes of wartime imagery alongside elements, as evidenced by songs like "Victory Gin" and "Summer in the Trenches." The band supported the release with live performances, including a UK tour in 2015.

The Libertines reunions, recent albums, and tours

Following the band's 2004 breakup, The Libertines staged several reunion performances, with a significant reformation occurring in 2010 that included headlining sets at the Reading and Leeds Festivals. This reunion, involving co-frontmen Carl Barât and Pete Doherty alongside bassist John Hassall and drummer Gary Powell, revitalized the group's activity and led to sustained collaboration. Additional one-off shows followed, such as a 2014 headline appearance at London's Hyde Park during the British Summer Time festival. The reformed lineup released their third studio , Anthems for Doomed Youth, on September 11, 2015, via Virgin EMI, marking their first full-length record in over a decade. Produced by Jake Gosling, the featured tracks reflecting on the band's and personal struggles, receiving mixed to positive reviews for recapturing elements of their raw sound. To promote it, embarked on and European tours, including headline dates and festival slots that solidified their post-reunion fanbase. In 2024, the band issued their fourth album, All Quiet on the Eastern Esplanade, on April 5 via , which debuted at number one on the —their first chart-topping release since 2004. Recorded at their Albion Rooms studio in , the LP emphasized matured songwriting amid Barât and Doherty's sobriety, as noted in interviews discussing the group's evolved dynamics. Supporting tours ensued, encompassing Christmas residencies, European dates extending into 2025, and festival appearances, with Barât contributing guitar and vocals throughout. These efforts have maintained the band's live presence, blending classic material with new compositions.

Other professional activities

Acting roles

Barât's earliest credited acting role was as in the 2008 biographical film : The Story, directed by , depicting the life of . In , he made his professional debut in the lead role of Eddie in Sam Shepard's Fool for Love at London's , opposite . The following year, Barât portrayed the in a rock opera adaptation of Claudio Monteverdi's (staged as Il Nerone), performed at the in during 2011 and reprised in 2012; the production incorporated contemporary music and costumes, including a red leather outfit for his character. In film, Barât played Gavin Metcalf, a involved in a criminal case, in the 2012 thriller The Man Inside, directed by Dan Turner. He appeared as Nigel in a 2012 episode of the comedy series . His role as Griff, an punk musician, featured in the 2021 biopic Creation Stories, which chronicles the life of Creation Records founder . Barât has also taken supporting parts in projects such as the 2020 TV mini-series Skinted and Minted and the Running Man as Dr. Hooper, though these remain lesser-known contributions to his acting portfolio.

Television appearances and writing

Barât published the autobiography Threepenny Memoir: The Lives of a Libertine on 16 September 2010 through Faber & Faber, recounting his childhood, the formation and turbulence of , and his experiences with drug addiction and bandmate Pete Doherty's self-destructive behavior. He described the writing process as a "manic ," emphasizing its role in processing past traumas without external collaboration. The received mixed reviews for its raw honesty but stylistic inconsistencies, with critics noting its focus on personal accountability amid the band's chaotic history. Barât appeared as himself in the 2011 documentary film : There Are No Innocent Bystanders, directed by , which provided behind-the-scenes access to the band's reunion performances at the in August 2010. The film captured the group's onstage dynamics and offstage reconciliation efforts following years of acrimony. In 2012, he served as a guest on the British daytime television programme , discussing his solo career and ' legacy. Barât also participated in promotional interviews tied to the 2024 Disney+ documentary series Camden, including a BBC-featured discussion with Doherty on their shared history in London's Camden music scene.

Personal life

Relationships and family

Barât has been in a relationship with Edie Langley since at least 2010, when she was expecting their first child. The couple's first son, Eli, was born on 9 December 2010. Their second son, Ramone, was born in late 2014. Barât and Langley became engaged in 2017. By 2024, Barât referred to Langley as his wife in interviews, indicating they had married in the intervening years. Earlier in his life, Barât was in a relationship with Astarita from to 2008, during the height of ' early fame and internal turmoil. Details on other prior relationships, such as with Mairead Nash, remain limited in public records. Barât has maintained a relatively private family life amid his musical career, residing in with Langley and their children as of 2022.

Substance use and health challenges

Barât has acknowledged personal struggles with , including , alcohol, and experimentation with , often intertwined with periods of depression. In a 2015 interview, he described preferring "uppers" like due to their energizing effects, while attempting but finding it nauseating and unpleasant, leading him to establish a self-imposed rule against combining it with . These issues contributed to internal band tensions during ' early years, mirroring but distinct from bandmate Pete Doherty's more severe dependency, which culminated in Doherty's 2003 burglary of Barât's flat to fund his . Barât has reflected on embracing a debauched alongside Doherty, though he positioned himself as critical of unchecked excess, later admitting to isolated episodes of heavy use, such as days spent alone in darkened rooms consuming drugs around 2010. By the mid-2010s, Barât reported ceasing daily heroin use and pursuing recovery, including rehab stints, which aligned with efforts to stabilize his career amid ongoing depression. In 2024, he enforced a no-drugs-or-alcohol policy during The Libertines' album sessions to maintain focus, signaling sustained sobriety efforts, though he continues to address underlying mental health challenges.

Equipment and technique

Signature guitars and gear

Carl Barât primarily employs vintage Gibson guitars characterized by pickups for their bright, treble-heavy tone, aligning with ' raw sound. His most treasured instrument is a sunburst single-cutaway model, originally gifted by his father and used extensively in performances such as "Don't Look Back into the Sun." This guitar, along with another unspecified electric model, was stolen from his home in May 2022 ahead of Dirty Pretty Things rehearsals but recovered in July 2022 with fan assistance via , allowing its use in subsequent tours commemorating the 20th of . Barât has also favored a 45-year-old as a main guitar, supplemented occasionally by and models for their semi-hollow and solid-body versatility. Additional guitars in his setup include a modified with a pickup, a black-and-red Stratocaster for guerrilla gigs, and a with GT racing stripe, reflecting a mix of budget and modified electrics for live reliability. For amplification, Barât relies on combo amps, often two units, to achieve chimey cleans and natural overdrive cranked to high volumes, a staple of his Libertines-era tone. His pedalboard remains minimalist, prioritizing a Boss TU-2 chromatic tuner for stage tuning and an MXR Dyna Comp for solo boosts without heavy effects processing. Later projects like Carl Barât and the incorporate additional pedals such as the Boss Super SD-1 overdrive for grit, Ibanez TS808 Tube Screamer for mid-boost, Lovepedal BBB fuzz on recordings, and Electro-Harmonix Holy Grail Nano reverb for subtle ambiance. He uses Dunlop medium-gauge strings on electrics and picks for consistent attack across instruments. No custom signature guitar model has been produced in Barât's name by major manufacturers like Fender or Gibson.

Amplifiers, pedals, and playing style

Carl Barât predominantly employs amplifiers, favoring their chimey clean tones and natural overdrive that contribute to the raw, British rock sound associated with . He has used original Top Boost models, which feature six inputs and built-in , often acquired second-hand for their vintage character. Barât maintains a minimalist approach to effects pedals, reflecting the band's early lo-fi with limited processing to preserve guitar tone authenticity. His pedalboard typically includes a Boss TU-2 tuner for basic tuning stability and an Dynacomp compressor for boosting solos without heavy distortion. Additional effects, such as the Holy Grail Nano reverb, appear sporadically to add subtle ambiance rather than dominate the signal chain. Barât's playing style emphasizes simplicity and purposefulness, prioritizing sharp, direct riffs and melodic leads over technical virtuosity or complex effects. This approach aligns with ' garage rock influences, featuring punchy rhythm work on guitars like the and improvised bursts that evoke raw energy, often achieved through amp-driven overdrive rather than pedals. His technique supports structured songwriting with melodic clarity, contrasting the more improvisational elements from bandmate .

Discography and collaborations

Solo and Jackals releases

Barât released his debut solo studio album, titled Carl Barât, on 4 October 2010 through the independent label Stiffd Records in the United Kingdom. The album featured 11 tracks, including lead single "Do Me a Favour," and was produced by ex-Libertines collaborator Ed Simmons, with contributions from musicians such as violinist Eliza Carthy and pianist Will Foster. It marked Barât's first major release independent of The Libertines or Dirty Pretty Things, emphasizing raw, narrative-driven rock songs influenced by his personal experiences. No further solo studio albums have been released as of 2025, though Barât has discussed ongoing songwriting for potential future solo material. In 2014, Barât formed the band Carl Barât and the , recruiting members via a advertisement, including bassist Jay Bone, guitarist Adam Claxton, and drummer Billy Tessio. The group's debut and only to date, Let It Reign, was released on 24 February 2015 through Records and self-released via . Recorded in and produced by Joby J. Ford of , the 11-track included songs such as "Glory Days," "Victory Gin," and "Let It Rain," blending revival with punk elements and themes of resilience and introspection. Plans for a follow-up Jackals described as "heavier" were announced in 2016 for potential release in 2017, but it has not materialized.

Libertines contributions

Carl Barât co-founded in 1997 with , establishing himself as the band's lead guitarist, co-lead vocalist, and co-songwriter alongside Doherty. Their partnership drove the group's output, with Barât contributing guitar riffs, vocal performances, and lyrical elements rooted in British indie and traditions. On the debut album , released October 14, 2002, Barât and Doherty received writing credits for all twelve tracks, blending urgent guitar work with shared vocal duties. Barât's and occasional lead vocals, as on "What a Waster," underscored the album's raw, chaotic energy. The self-titled second album, issued August 16, 2004, followed suit, with compositions uniformly attributed to Barât and Doherty, including hits like "Can't Stand Me Now," where Barât's and harmonies complemented Doherty's style. Following the band's 2010 reunion, Barât's input persisted in Anthems for the Doomed Youth (September 11, 2015), where he provided backing and lead vocals—such as on the title track—and co-wrote material with Doherty amid reconciled dynamics. The 2024 release All Quiet on the Eastern Esplanade (April 5, 2024) highlighted Barât's continued vocal prominence on opening tracks "Run Run Run" and "Mustangs," alongside co-writing credits reflecting matured collaboration. These efforts solidified Barât's role in sustaining ' melodic yet tumultuous sound across four studio albums.

Guest appearances and singles

Barât provided additional vocals on the track "" by English electronic duo Client, which appeared on their 2004 album and was released as a standalone single on January 10, 2005. In 2006, Barât contributed vocals to a cover of The Clash's "," recorded separately from for the charity single by and Friends, released on October 30 to support Strummerville, a foundation founded by . This marked Barât's first musical collaboration with Doherty following ' initial breakup. Barât participated in the 2017 charity single "" by Artists for Grenfell, a cover of Simon & Garfunkel's song featuring over 50 artists including , , , and , released on June 21 to raise funds for victims and families affected by the . The recording involved artists contributing remotely, with proceeds directed to the Memorial Fund and London Community Foundation.

Reception, influence, and criticisms

Critical assessments of career phases

Barât's early career with , particularly the 2002 debut album , received widespread critical acclaim for its raw, garage-punk energy and lyrical authenticity, positioning Barât as a co-songwriter who channeled working-class grit into anthemic tracks like "Time for Heroes." Critics highlighted the band's chaotic live dynamic, with Barât's guitar work and vocal harmonies providing structure amid Pete Doherty's unpredictable contributions, though the phase ended in acrimony by 2004 due to Doherty's substance issues, which Barât later described as fracturing their creative symbiosis. This period established Barât as the band's stabilizing force, but some assessments noted his reluctance to fully embrace the disorder that fueled their initial appeal. Following ' initial split, Barât formed Dirty Pretty Things in 2005, releasing Waterloo to Anywhere in 2006, which critics praised as a "triumph" for its punchy, riff-driven rock that echoed urgency without Doherty's volatility, crediting Barât's leadership for a more disciplined sound. However, reviews often critiqued the project for lacking the original band's unhinged charisma, with noting its consistency but comparative weakness against Doherty's solo output like ' "," suggesting Barât's efforts to "polish" the formula diluted its raw edge. The 2008 follow-up Romance at Short Notice drew mixed responses, lauded for development in songcraft but faulted for sterility, as Barât's cleaner production and absence of Doherty's "dirtiness" left it feeling incomplete, per assessments emphasizing their complementary tensions. Barât's solo debut Carl Barât (2010) marked a stylistic shift toward theatrical, Brecht-Weill-inspired elements with soaring strings, which reviewers saw as a bold but uneven departure from his punk roots, strongest in dramatic tracks like "The Fall" but criticized for pretension and lack of cohesion. His subsequent work with The Jackals, including Let It Reign (2015), reverted to up-tempo punk reminiscent of early , praised for succinctness and swagger but dismissed by some as predictable and abrasive without innovation, failing to recapture prior highs. These phases underscored critiques of Barât's post- output as competent yet derivative, often needing collaborative friction to elevate beyond solo reliability. The Libertines' 2015 reunion album Anthems for Doomed Youth and later releases like 2024's All Quiet on the Eastern Esplanade reflect a matured phase, with Barât's role emphasizing reconciliation and sobriety, yielding more polished production that critics viewed as nostalgic but less visceral than early work, occasionally hampered by vocal mismatches or overproduction. Barât's contributions were assessed as anchoring the band's longevity, fostering a "quixotic bromance" minus past melodrama, though some noted diminished urgency in fast-paced tracks due to his steadier style clashing with Doherty's remnants of chaos. Overall, reunion-era evaluations credit Barât with enabling sustainability but lament a partial loss of the primal authenticity that defined his breakthrough, prioritizing stability over reinvention.

Cultural impact and legacy

Carl Barât's primary cultural impact stems from his role as co-founder and co-frontman of The Libertines, which played a pivotal part in the early 2000s garage rock and post-punk revival in Britain. The band's raw, energetic sound and themes of chaotic camaraderie helped reinvigorate indie rock, shifting attention from the preceding Britpop era toward a more unpolished, DIY aesthetic influenced by 1970s punk and 1980s indie. This revival positioned The Libertines alongside American acts like The Strokes, with Barât's guitar riffs and shared songwriting with Pete Doherty contributing to a style that blended punk aggression, folk-inflected melodies, and poetic lyricism. The ' legacy is characterized by fan devotion exceeding commercial metrics, as their appeal lay in embodying rock's romanticized excesses—, inter-band , and unfiltered expression—rather than polished production. Barât's steadier persona relative to Doherty's volatility underscored the band's dynamic, influencing perceptions of authenticity in British guitar music during a period of media-saturated indie scenes. Reunions, including tours and the 2024 album All Quiet on the Eastern Esplanade, affirm enduring influence on acts prioritizing narrative-driven songcraft over electronic trends. Barât's post-Libertines endeavors, such as The Jackals and solo releases, extended this legacy by exploring introspective themes amid personal recovery from substance issues, though they garnered less widespread attention than his band work. His contributions to British rock's narrative of resilience—evident in memoirs and interviews detailing turmoil-turned-triumph—reinforce a model of artistic persistence, impacting discussions on creativity amid adversity in music journalism.

Debates on band dynamics and authenticity

The Libertines' internal dynamics were marked by intense collaboration between co-frontmen Carl Barât and , but escalating tensions primarily driven by Doherty's led to the band's 2004 dissolution. Doherty's intensified around 2003, resulting in erratic behavior that disrupted rehearsals and performances, prompting Barât to expel him from the group. On , 2003, Doherty burgled Barât's flat in an act of spite, stealing items including a guitar and photographs, for which he pleaded guilty and received a six-month sentence in September 2003. Barât later described this period as involving "genuine danger" and significant personal hurt, attributing the rift to the destructive impact of drugs rather than mere creative differences. Physical confrontations underscored the volatility, including a 2004 incident where Barât head-butted a sink multiple times following an argument with Doherty, causing severe injury to his eye. Barât subsequently formed The Dirty Pretty Things in 2005 as a means to distance himself from the chaos, enlisting former members and emphasizing a return to focused musicianship without Doherty's influence. In interviews, Barât has reflected that the original band's recording sessions for their self-titled second album were "agonizing" due to constant fights and drug-fueled unreliability, necessitating security measures to prevent violence between the two. Doherty, meanwhile, launched , but the split fragmented their songwriting partnership, which Barât viewed as essential to the band's core identity. Reunions began tentatively in with festival appearances, progressing to full activity by and albums in 2015 and 2024, coinciding with Doherty's sobriety achieved through opiate blockers since 2019. Barât has emphasized that these reconciliations stem from rediscovered mutual affection rather than financial incentives, stating, "I thought, ‘God, we do like each other, we had fun together, and it was real.’" The 2024 album All Quiet on the Eastern Esplanade marked their first entirely sober recording, with Barât noting improved trust and creative flow, though he acknowledges lingering scars from past feuds. Doherty has echoed this, claiming his songwriting remains oriented toward Barât, underscoring a evolved but enduring bond. Debates surrounding the band's authenticity have centered on whether post-reunion iterations preserve the raw, ethos of their early DIY origins or devolve into commercial exercises. Barât has countered tabloid — which fixated on scandals over musical substance—by promoting narratives like the 2011 The Libertines: There Are No Innocent Bystanders, which highlights interpersonal rebuilding and pre-fame seriousness, arguing the public shares in amplifying chaos. Critics and observers have questioned if sobriety dilutes the chaotic authenticity that defined tracks like "Can't Stand Me Now," written amid acrimony, yet Barât maintains the band's truth lies in its foundational "belief in love and togetherness," not perpetual dysfunction. Some accounts portray the dynamics as a model of resilient male tested by , rather than irreparable damage, with Barât rejecting views of the reunions as opportunistic.

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