The Wombats came out of Liverpool with bright guitars, sardonic lyrics, and a dance-ready beat that sits between indie rock and pop. At a day fest like Depot in the Castle, expect a tight run of fan favorites with quick transitions and little downtime.

Hooks that spark instant singalongs

Likely anchors include Let's Dance to Joy Division, Greek Tragedy, Moving to New York, and Kill the Director, with choruses built for big-field voices. The crowd skews mixed here: longtime fans in vintage tees next to newer listeners who found the Oliver Nelson Greek Tragedy remix on TikTok, plus families making a day of it. Trivia worth knowing: the trio met at LIPA in Liverpool, and they once toured with a giant inflatable wombat nicknamed Cherub.

Context and a fair caveat

Expect a clean, upbeat set with synth hooks punched up by touring keys and guitar, keeping the pace around radio tempo. For clarity, these notes on songs and staging are inferred from recent tours and could shift at this event.

The Wombats Crowd: Indie Hearts, Festival Smarts

The scene feels friendly and mixed, with early-10s indie kids now in their 30s standing alongside teens who learned the choruses online. You will spot retro track jackets, bucket hats, and worn band tees, plus a few homemade wombat signs near the rail.

Chorus rituals that travel

The callback in Kill the Director turns into a field-wide shout, and claps on the off-beat usually show up during Tokyo (Vampires & Wolves). Many fans save their loudest voices for Let's Dance to Joy Division, where jumping in place becomes its own rhythm section.

Little badges of fandom

Merch trends skew toward pastel tees with cartoon art, simple black logo shirts, and the odd tote bag for day-fest logistics. You will also see older Glitterbug-era designs, a quiet signal from fans who rode that wave the first time around. Overall it is a laid-back, song-first crowd that values a brisk set and clear melodies over spectacle.

The Wombats: Hooks First, Lights Second

Live, The Wombats keep vocals front and high, with Murph's slightly nasal tone cutting through the mix for clear, easy-to-echo lines. Guitars lean bright and percussive, leaving space for Tord's melodic bass to carry counter-melodies that double the hooks. Dan's drumming is snappy and busy on the hi-hat, but he leaves pockets that make the choruses hit harder when everyone lands. Tempos often tick a touch faster than the recordings, a simple change that lifts the room without rushing the words.

Little tweaks that make big lift

A touring multi-instrumentalist usually handles the key hooks and trigger pads, so songs like Greek Tragedy and Turn keep their signature synth sparkle. They like to extend a bridge or break by a few bars, letting the chant build before dropping the final chorus, which suits festival stages.

Sound before spectacle

The visuals tend to be clean colors and strobes that outline the beat, but the show reads music-first, with arrangements doing most of the work.

If You Like The Wombats: Kindred Stages

If you like crisp indie rhythms and singalong hooks, Two Door Cinema Club share the same sleek guitars and four-on-the-floor pulse that gets crowds moving. Fans of story-driven, cheeky lyrics often cross over with The Kooks, whose breezy choruses sit in the same lane of festival-friendly guitar pop. For a tougher edge and dance-minded grooves, Foals bring interlocking riffs and steady builds that appeal to the same energy seekers. Those who want big choruses with a scrappy northern bite will find common ground with Catfish and the Bottlemen, especially in the way both bands sprint through tight sets. Each of these acts draws multi-generational fans who balance nostalgia with new-stream discovery, much like The Wombats do today. The overlap is less about genre labels and more about a live feel that prizes momentum, melody, and a friendly push-pull between guitars and synths.