The Afghan Whigs at Shepherd's Bush Empire

The Afghan Whigs

Ed Harcourt

Shepherd's Bush Empire, 24 September 2026

It's been far too long since I last saw the Afghan Whigs live but with the release of a new album (Soft Control) and, like The Jayhawks, celebrating their 40th anniversary this year, I knew I had to see Greg Dulli and the boys on this tour, and I'm so glad I did because this was an absolute blast of a show.

After having such a positive experience and a fantastic spot at the Rilo Kiley show at the same venue a couple of months ago, I was determined to get an equally good spot for the Whigs, so I turned up early and surprisingly there were only a few people ahead of me in the queue. 

The only worry was the fact that this time around the Whigs were selling super-expensive (well to me anyway) VIP packages for this tour where you got a Q&A with Dulli and early entry to the show (and some had the opportunity to view the actual gig from the side of the stage as well as seeing the band soundcheck). 

I personally find the cash grab of these VIP tickets a little naff: I don't think I would ever pay money to meet anyone no matter how much their music means to me and I also feel like I've already supported the band by buying a ticket to the show so I don't think I should have to pay even more to get early access. The side stage thing and soundcheck are kind of novel though, but I actually saw the band soundcheck for free years ago on the Black Love tour so nothing will ever beat that. Plus I've met Dulli for a couple of times and it didn't cost a thing and, for me, it felt nicer than paying for the privilege.

However I do realise the band is getting older now and I can't imagine are super rich so I suppose if people are willing to pay hundreds for these things and feel it's worth it, I shouldn't knock it. I did wonder how many would be in the VIP queue and in the end I would say there was about 15 or so who paid for this experience (including one super dedicated lady wearing a special Afghan Whigs dress in white) and they did indeed get to enter about five minutes before us ordinary, poor folk.

Despite this I was surprised that I easily managed to get the exact same spot I had at the Rilo Kiley show, just off centre and pretty close to where Dulli would be standing, so I felt pretty smug (even though I am still poor, I'm poor with a good view at least!).

Supporting tonight and for this whole European tour is a good friend of the band, British singer/songwriter Ed Harcourt, who tells us that this is in fact his eighth tour with Greg Dulli. I have indeed seen him opening for the Whigs before but the first time I ever saw Harcourt was back in 2001 at the ULU when his first album, Here Be Monsters came out, so I feel like I've been with Harcourt right from the beginning.

Tonight he comes out looking very dashing, wearing a black and gold polka dotted shirt under a smart jacket, with lots of rings on his fingers, and after sitting behind the keyboards begins playing In The Embers Of A Dying Flame, a track from his new album Orphic, which sounds kind of haunting and atmospheric and showcases what an amazing pianist Harcourt really is.

I remember in the early days of Harcourt's career, while his music could still be cinematic, it also felt softer and poppier. In recent years though his material seems a little darker and brooding, and that is definitely on display tonight. It makes sense that he fits in with the likes of Dulli and worked with people like Marianne Faithfull. When you hear him play it's like hearing a whole band despite it being just him on stage and it's a marvel to watch his hands run over the keyboards. 

After playing the title track to his 2016 album Furnaces, which really showcased his voice, he moves over to the centre of the stage and picks up an electric guitar, a telecaster, but as he is left handed it's odd to see him play it upside down. In fact even the strings are not reversed but yet he has no problem finger picking his way through a plaintive song called Shadowboxing, his voice ringing through the venue on the chorus.

He swaps the guitar for another rather eerie sounding track called A Ghost Walked Through Me, but this time he runs over to his laptop to start a backing track of drums and droning sounds, to give the song a fuller sound. Harcourt is obviously a pro playing by himself but it does make me think how good he'd sound with a full band.

He picks up a third guitar for the next song but a string breaks and he tells us he needed that string for the track, so gamely puts the guitar down and decides instead to play it on the keyboard. Incredibly he plays Loup Garou on the piano, showing just how talented he is that he could improvise and play the song on a different instrument perfectly and without a second of hesitation. 

He returns to the guitar with the broken string and asks us if we want to hear a Mark Lanegan tune, which of course we very much do. But to help him he invites on Rick G Nelson, who has been playing with the Whigs, to play violin. Like at the Lanegan tribute a couple of years back, Harcourt plays a menacing but deeply beautiful version of One Way Street, made all the more atmospheric by Nelson's eerie violin playing. What a treat to hear him play it again and his voice sounded just right singing Lanegan's poetic lyrics.

For the final song, Until Tomorrow Then, Harcourt got one of those old-timey microphones, like an Elvis mic, that you hold right next to your mouth, and he jumped into the audience, initially next to me, at the barriers and was leaning over into the audience, seemingly singing right to the chap on my right. He then worked his work along the barrier until he reached the middle and was leaning right into the crowd as he sang (those VIPers got their money's worth at that moment for sure!). Harcourt then jumped back on stage and back behind his keyboards and continued to hold the mic to his mouth and sing, as he added flourishes on the piano. It all sounded amazing and showcased what a fantastic and unique performer he is. His opening set was a lot of fun.

Before the Whigs took to the took there was an announcement asking the audience to consider refraining from taking photos or videos during the show and experience the moment. But if we did have to take a photo or video please do not use the flash. Obviously this is happening a lot more at concerts now, having recently experienced the full on ban of phones at the Phoebe Bridgers and Jack White shows and I do get it, but as someone who never took a photo at a concert during my entire youth, I can't deny I get a kick out of it now. I did try to be more respectful though and not take as many. Hopefully Dulli won't be too annoyed I took a few photos!

At 9pm sharp the band ambled onto the stage looking like very cool older gentlemen. To me the Afghan Whigs is essentially just Greg Dulli and bassist John Curley: the only two members who have been there from the start. Of the remaining band, drummer Brian Lee Brown is new and guitarist Christopher Thorn has only been playing with them for the last few years (and is still a member of the band Blind Melon) with only the aforementioned multi-instrumentalist Rick G. Nelson having been with the band since they reformed in 2011. 

There's no doubt they are still a solid unit and sound fantastic but Dulli and Curley were the only ones I was truly excited to see and it was great to see both looking so healthy and slim, their hair (and beards) now completely white, looking like true silver foxes. 

Starting with the cool heavy riffage of Parked Outside with Dulli screaming, "You're going to make me, break down and cry!" It was clear that, even though he's 61 years old now, Dulli still very much has it and he sounded spectacular and every bit as good as I've ever seen him.

Dulli told us that as it's the band's 40th anniversary they would be playing songs from all their albums (and they did, aside from the debut Big Top Halloween but that has never been reissued since it was independently released in 1988 and I've never heard them play anything from it: even Dulli says he hasn't listened to it since the 1980s). Then there was an amazing barrage of absolute banger after banger that I could barely take a breath, in the best way possible.  

It started with a high-energy version of I'm Her Slave from Congregation and quickly went into What Jail Is Like from Gentlemen, with Nelson playing the distinctive piano part. Of course anything from Gentlemen would get an amazing reaction and this emotional version certainly did: I know I was singing along with every word and when I looked to my side I could see arms raised in the air and people throwing their heads back singing. For such an angsty song it produced so much joy, that's for sure. 

It took until the fourth song before we got a glimpse of anything from the new album, Soft Control, and the songs seamlessly fitted in right along side all the classics. Dulli and Curley began the riffing of House Of I while facing each other, Dulli doing that little Dulli wiggle we all love him for, and by the time those Stonesy "do-do-do"s came along, I think everyone was joining in, which is pretty impressive for a brand new song.

They actually fit in at least five tunes from the new record and I think of these maybe My Lover was the most fun, but Loose Talk was also full of energy, Duvateen felt soulful and passionate and the jazzy The Deepest Part Of The Darkest Shadow (incredible title by the way), was intensely beautiful, performed by Dulli behind the keyboards and adding a nice contrast to the more high octane moments. (It was also exciting for me as I was stood right in front of the keyboards so got to witness Dulli in all his soulful glory close-up).

There were so many highlights from the back catalogue it was like a complete blur of nostalgia and joy, honestly there were times I was grinning so much and other times I felt almost tearful with the happiness of it all. They played the first song I ever heard by the Afghan Whigs, Debonair, which introduced me to Dulli and made me a lifelong fan. I still think it sounds incredible and the whole band seemed to get caught up in its power, while Dulli's voice has never sounded better as he screamed "it's in our heart, it's in our head, it's in our love, baby it's in our bed!" kicking out his leg as he launched into the guitar solo in the middle. I could not have asked for anything more, it was stunning.

Songs like Going To Town, the still sexy Somethin' Hot and the cool swagger of 66 (I think the album 1965 really is a fan favourite) obviously went down a storm with the crowd and allowed Dulli to have a little dance and add a few Prince lyrics (this time from Little Red Corvette, hey it wouldn't be a Dulli gig without a little nod to Prince!). But there was no doubt it was exciting to hear Fountain And Fairfax, especially when Dulli got to the part when he sings "I'll be waiting for you on..." and then let the crowd shout the "Fountain and Fairfax" part. It was truly glorious. Then to follow this with My Enemy with its killer opening line "I hear the whispers, baby, if what they say is true, they say I killed the brother, to fall in love with you." I remember being blown away when I first heard that punchy opening way back in 1996 when I first heard the album Black Love and 30 years on it still has that exact same power.

The songs from the reunion years were equally powerful though, in fact the sinister and cinematic Oriole in particular was probably was one of the best moments of the night, and the fact that they don't always play this one made it feel particularly special. It was truly spine-tingling at times.

Algiers was equally atmospheric with its 60s girl group drum beat opening and spaghetti Western vibes, while I also loved the darkly soulful Demon In Profile, one again performed by Dulli behind the keyboards, still managing to strut his stuff despite being seated. 

Of course Dulli was as funny and charismatic as ever. He was amused by all the plastic cups of water being handed out to the overheated crowd, asking "Why are you all getting free martinis?" before jokingly acting surprised when told that it was actually water. 

When he eventually sat behind the keyboards with a glass of clear liquid in his hand he quipped "Now this is not water!" and taking a swig. He also warned that when he had something to drink he usually gets "all chatty" and recalled a particular London gig where this was especially evident and he talked too much that night (I can't remember the venue he mentioned but it could well have been that Subterania gig I went to in 1998, as he was particularly intoxicated that night. 

Later he reminisced about all the London venues they had played over the years, the first being The Venue in New Cross back in 1990 (this blows my mind as I used to go to the Venue all the time back in my student days but 1990 was before my gig going days), but Dulli also mentioned The Garage (which was my first Whigs gig!), Koko and that infamous Subterania show. He was trying to recall some more and I shouted "the Astoria!" as did someone else in the crowd but he didn't seem to hear. They also played The Forum back in the day and the Electric Ballroom in more recent years, but I was impressed he remembered so many, given all the different places he has played in so many cities over the years. 

There were more great moments to come though, particularly when they played the oldest song in the set list, Son Of The South from Up In It. The bluesy, southern rock via 90s alternative track, seemed to really get Dulli swinging his hips and letting loose, in fact in the middle he finally did start to get "chatty", as the song slowed down allowing Dulli to ask us how many of us knew this song. I was among the few who raised my hand but seemingly there wasn't too many as Dulli noted. He went on to say it was a big part of the set back in the early days of the band and they often used to stretch it out to 20 minute epic performances where in the middle he could do his Jim Morrison impression. He playfully then started to sing Roadhouse Blues, but it felt like a funny homage rather than a straight Doors impression. He even started to do the spoken word part of The End, with the band launching back in as he screamed the "Mother, I want to..." part and they returned to Son Of The South. It was hugely fun and even though I'm sure they do this every night, it felt spontaneous.

Dulli then said, that rather than pretend to go off and hide backstage for a few minutes only to come back for an encore, they would instead prefer to just continue to play. As I've often stated on this blog, I much, much prefer this (unless it's a truly genuine encore) and I was pleased when they didn't waste time with such pretenses and instead launched into a wonderful and uplifting version of Summer's Breeze.

The final song was the sweeping and cinematic Do To The Beast track, Into The Floor, which halfway through saw Dulli put down his guitar and take up his microphone, walking to the edge of the stage to sing. At this point he tells us how the song was written at the beginning of their reunion and used a riff from an older song, which of course is Miles Iz Ded. He then began to sing a slower more soulful version of Miles Iz Ded, amusingly mimicking the "got my hands into your pants" line, before walking to the centre of the stage and shouting out that oh so familiar and joyful chorus of "Don't forget the alcohol, oh baby, oh baby!" which of course everyone joined in on. 

He then thanked us all and put down his microphone and walked off stage waving as the band played on. Nelson and Thorn even joined forces at the front of the stage to play some dueling guitar solos until the song beautifully wound down and the rest of the band finally put down their instruments too and it was sadly all over!

But what a show it was. I think we all just waited for a few minutes because, for once, I think we all would have loved more and they definitely could have played a genuine encore. But I'm glad they didn't because really it was perfect as it was: completely thrilling, full of nostalgia but lots of new wonders too. Everytime I see Dulli live it reminds me why I love him so and why he's been such an important part of my life over the years and he certainly didn't disappoint tonight. 

The last time I saw him live was celebrating his old friend at the emotional Mark Lanegan tribute, which was so moving and beautiful, and his performance was my absolute highlight. Tonight was also a celebration, but a much happier one. It was a celebration of the band's history, of the new fantastic new album but it was also a celebration of years of music shared. I could tell that Dulli and the band held so much meaning to everyone there too. It felt powerful and thrilling and I'm so glad that the Afghan Whigs and Greg Dulli, in all his different musical guises, have been part of my life for so long.