The Libertines reunion may be a distant memory, but that doesn’t mean Carl Barât has been slobbing around some Camden pub twiddling his thumbs.

In fact, the 33 year-old is fresh off a plane from Paris, where he’s been rehearsing for the most ambitious performance of his career, a starring role in an opera at the Théâtre du Châtelet.
No, you’re not suffering from OxyContin withdrawal symptoms (Dear god, I miss 2004…), believe it or not, next year the renegade rocker will appear in Pop’pea, a rock version of Monteverdi’s Coronation Of Poppea, featuring musical direction from Pete Howard who briefly served time with The Clash.
Barât plays Roman emperor Nero, who spends much of the show plotting to leave his wife for the beautiful courtesan of the title. How does a scruffy guitarist from Basingstoke prepare himself for a role like that?
“I don’t know,” Barât muses. “It feels quite natural at the moment, I’m quite enjoying it. I’ve always had a theatrical background anyway and there are no trained opera singers in it. I think they’re trying to get a different audience for opera over there. But even if it does turn out to be awful, just to be able to say you did it is great.”
One thing’s for sure, he’s got one hell of an opening night ahead of him.
“It’s always scary,” he nods. “I’ve never not been petrified before a gig.”
I’m guessing the first time he stepped out on stage as a solo artist was no picnic, either.
“Well, there are varying degrees of petrification! But on tour, I surround myself with a good band, it’s not just me with a guitar. That’d be boring.”
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“Well, he’s very good at it! He’s quite a natural. I couldn’t carry it off, he’s got the kind of mind where he can switch from one thing to another and he’s very comfortable talking to the crowd. He’s lucky.”
If Barât seems a tad more reposed than usual, it’s probably got something to do with a recent visit from the stork. He proudly whips out his phone to show me a picture of baby Eli, who is now nine months old and absolutely adorable.
What with the late nights and vomit-stained clothing, I would imagine the rock ‘n’ roll lifestyle was the perfect training ground for parenthood.
“Well, it’s kind of different,” he laughs. “I mean no-one’s better for going without sleep than me, but it’s different with a baby. Being awake and ready and responsible is different from being awake and gurgling and talking shit. But it’s wonderful. Emotionally, it’s absolutely beatific.”
We meet ahead of Barât’s performance on Arthur’s Day, so the London riots are still on everyone’s tongue.
“They burnt all my fucking records!” he exclaims, referring to the PIAS warehouse fire. “But I’m really quite suspicious about that. I don’t want to bring conspiracy theories in, but it was kind of off the beaten track for looters, this random warehouse.
“It’s alright for me, there’s probably some insurance in it down the line, but it’s really bad for a lot of indie artists. Some indie labels, it totally wiped them off the map and I think that’s catastrophic.”
From The Libertines to Dirty Pretty Things to today, Barât has always held quite a romantic view of London. Have the riots tainted his view of the city?
“No, not at all!” he assures me. “I find London every bit as inspirational as ever. If anything, the riots have fed my fascination.”

Carl Barât is out now on PIAS