Wet Leg | Faux Real!
Mountford Hall, Liverpool Guild of Students.
15th November 2025

Fresh from The Royal Albert Hall, Wet Leg hit Liverpool on their Autumn mini tour. The one time indie geeks deliver a towering rock performance. Fronted by an unstoppable raunchy rock star in Rhian Teasdale and imbued with energy, riffs and an arsenal of impressive songs, they’re a band on the road to something much, much bigger. 

Support tonight are Faux Real! Billed as French / American brothers/lovers? They’re an “interesting” proposition. Two men dressed in white performing choreographed dance moves. Are they singing? Are they lip synching? I honestly don’t know? And the music? An assortment of dance-based backing tracks encompassing heavy house, techno, commercial pop and beyond. They’re definitely an acquired taste. I can imagine them going down well late night in a club or sweaty festival tent. There are plenty at the front of the crowd keen to show their appreciation, while others look on, simply bemused.

White Light / White Heat, the Velvet’s track so loved by David Bowie, swirls around my mind. Tonight, Wet Leg are white light / white heat, visually and experientially. Fragmented images of Rhian Teasdale, biceps flexed, flash before us amid smoke and brilliant white strobing. Opening track, Catch These Fists, epitomises Wet Leg in 2025. They’re confrontational, oozing self confidence and at times sexually provocative; a powerful rock band with a rock star front woman. They’ve come a long way since their geeky lo-fi indie beginnings and less than charismatic stage presence. Teasdale prowls and struts around the stage as the driving, hypnotic rhythm pulsates around her. Lyrically aggressive, “I don’t want your love. I just wanna fight,” mirror the visual and sonic palette. But paradoxically, love is exactly what she gets from tonight’s crowd.

Wet Dream takes us back to their indie roots. Amid smoke and more strobing, Teasdale remains our focus, her movements synched to the rhythm. Translucent guitar beefing up the sound, much more than a visual adornment. A little later, Oh No, with its stomping beat and catchy, attention grabbing chorus, sees Teasdale sparring with original partner Hester Chambers. It’s a rare venture into the spotlight for the shy, unassuming guitarist. Casually dressed, face hidden behind her blonde locks, she’s increasingly the on stage antithesis of her rock star co-founder.

Does it matter? Well no. While Hester lurks in the shadows, Wet Leg in 2025 have become a supremely visual band. Front of stage, Ellis Durand on bass and Josh Mobaraki on guitar perfectly flank Teasdale. With long black hair flailing and dressed in white, cargo pants, and overlong shorts complete their image. They provide real symmetry and stage presence but aren’t just visual eye candy. A look at the current album Moisturiser reveals that they’re integral to the band’s songwriting too.

Supermarket feels more lightweight, but its chorus is infectious; cue tonight’s first call and response singalong. Dispensing with her guitar, Liquidize and Jennifer’s Body bring out Rhian’s rock frontwoman persona once more. She’s out there prowling, pouting, crouching, with hips gyrating, hair blown backwards by an onstage fan; proving herself the consummate front woman. There’s little time for on-stage banter. Guitarist Josh Mobakari pauses mid set with a dedication to a Liverpudlian aunt and cousin. Otherwise, the band just hit with song after song;19 of them in 80 minutes!

So who are tonight’s crowd? They’re the most diverse I’ve encountered for a long time. Between bands, I find myself talking to an ageing punk, his pink mohican visibly receding. Brimming with anticipation, it’s the third time he’s seen Wet Leg this year. Of course, there are plenty in their 20’s and 30’s. Straight and gay couples openly display affection as they dance the night away, but there are mothers with daughters too, some as young as 9 or 10 – maybe at their first gig. Goth-inspired teenage girls lurk at the back while further forward groups of balding men in their forties quaff pints. Taking it all in, there are even white haired septuagenarians. Tonight, Wet Leg’s appeal seems almost universal.

Back with the music, Being In Love brings more foot stomping and guitar duelling as Hester, hair still obscuring her face, briefly moves centre stage. During Ur Mum, we’re invited to scream, and keep screaming. A high pitched and ear piercing onslaught ensues, and its climax finds Rhian, arms outstretched, lying on the stage floor. Lost from sight to many in the crowd, she delivers much of U and Me at Home which follows, seated on the floor as white smoke and bubbles swirl around her.

Davina McColl takes the energy levels down a notch with its indie melody and uplifting chorus before 11.21 slows things further. It sees Hester on keys and gives Rhian the chance to show her vocal range. Of course, the serenity can’t last. Drums and bass drive the much darker Dragon Fart forward with guitars punctuating this powerful dose of rock as it spirals toward its climax. Upping the momentum further, Angelina sees Hester and Rhian sharing guitar lines and vocals.

The opening bars of Chaise Longue inevitably draw immediate recognition and communal call and response in the band’s ode to The Big D, and fretboard frenzy erupts as the song builds and builds.

There’s no stopping them now as CPR’s raw grunge inspired riff proves all consuming while closing number Mangetout feels utterly appropriate. It sees Rhian crawling provocatively as she sings, “You wanna fuck me.” into the eyes of the front row. She looks as though she could devour anything and tonight, aping the titular French, Wet Leg could surely “eat everything!”

Wet Leg have proved an irresistible force tonight, a band with a seemingly unstoppable upward trajectory. With a third album apparently already written and major outdoor headline shows coming in 2026, we’re unlikely to see them again in relatively intimate venues like Mountford Hall anytime soon.

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When Wet Leg can be followed on Facebook | Instagram |and their website

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Words and photos by Trev Eales. More work by Trev can be found on Louder Than War at his author’s profile.