However, 2023 saw a flurry of new activity from Cranes, straight from the source. Firstly, the band released a string of radio sessions recorded for the late, great John Peel in 1989 and 1990, many of which had never been circulated previously. Additionally, the band announced two shows, one in hometown Portsmouth and the other in the heart of London, both of which sold out immediately. Both shows were meant to celebrate the 30th anniversary of 1993’s Forever, one of the band’s most beloved recordings that also earned them a slot opening for The Cure’s celebrated Wish tour, which alongside a single remix of “Jewel” remixed by Robert Smith himself, helped usher in a new legion of fans. These new gigs reunited the Shaws with original guitarist Mark Francombe as well as Paul Smith, who began recording with the band with 2001’s Future Songs album. These shows were special occasions through and through, with fans (including myself) traveling far and wide to attend. While the band was originally unsure what would be in store next, they seem to have rekindled the spark and reclaimed their stake in today’s robust scene. More live dates have been booked for 2024 in Leeds, London, Brussels, and Rotterdam, and a new reissue has been announced – this time unearthing Fuse, the band’s very first release and one of their deepest obscurities. Originally released on cassette in 1986 via Bite Back!, Fuse has been lovingly remastered at Abbey Road and will be reissued via the band’s own Dadaphonic imprint on April 5th of this year. Like the Peel Sessions release prior, this new edition of Fuse features artwork by Chris Bigg of V23, who originally helped design much of 4AD’s classic artwork over the years. To sweeten the pot, this beautiful new edition features “New Liberty,” a song recorded during these early sessions that has not been heard until now.

We had the immense pleasure of speaking to vocalist, guitarist, and bassist Alison Shaw about all of this activity. Check below for our conversation, as well as a full list of upcoming tour dates and Fuse reissue details…

~~~

Firstly, I just have to say it: WELCOME BACK! It’s really great that all these new gigs are popping up on the horizon. After years of radio silence, it really was so exciting to see this flurry of activity. What, what was the catalyst for getting back together? What got you thinking about it and what’s been fueling the fire so far? 

I guess it was the end of 2022 when, quite by chance, Jim and Matt (Cope) met up. Around the same time, Jason, who was our manager throughout the Dadaphonic years also got back in touch and told us that if there was any chance that we wanted to do something again, he’d help us. For the last ten years, it was the last thing on our minds, you know? We were all just doing other things in our lives. Somehow, things just fell into place. We all thought that we wanted to take it slowly, to see what happens. When we announced that first London show, we actually weren’t quite ready in our minds. We weren’t sure if we were able to do it, or if we really wanted to do it. But it went on sale and it sold out really quickly in a day and a half, and so we were like “oh my God, we’ve got to do it, we’re committed now.” It really was a good experience though. You were at the show, right? The audience was amazing! For us, it was a very happy show and it made us think that we might quite like to do some other shows.

Yeah, EartH is such a gorgeous venue and there was so much great energy in the room. It was a perfect fit! 

Yeah, exactly I think that was kind of a special evening for us all.

There aren’t a lot of bands out there like Cranes, so it’s great that you’re back in that sense. There was a big gap left in the scene when you left…

Yeah, our last record was in 2008. And I think our last gig was about 2012 or 13. So there’s been a long gap!

It seems like you just went dormant and life carried on for you all. Had people been asking for shows or for new material over the last decade? 

Well, when we went dormant, I also wasn’t connected to any social media at all for about ten years. I just couldn’t deal with it for one reason or another. I was vaguely aware that somebody out there was reissuing our records. It was the Music on Vinyl company in Holland, they’ve become good friends now and they’re really big fans of the band. They’ve reissued all our albums and they make really lovely vinyl editions. At the time though, I was only vaguely aware of this, but now I’ve kind of clipped my brain back into being doing Cranes stuff. We’re much more in touch with everything.

It’s been brilliant being back in touch with Mark (Francombe) again, because he was, as you know, he’s the original guitarist from the late 80s and early 90s. He’s been living a totally different life these days, because he lives in Oslo, in Norway. We’ve remained friends over all of these years, only seeing each other maybe once a year or something. But now we’re in contact every day, on the phone, or messaging or talking. He’s a very creative person and he helps with all the social media stuff.

So really, it’s weird. We’re just slowly motioning back into being a band again after such a long break, taking it at our own pace.

That’s great! And it’s great that Mark is so invested and so involved as well. So, these next batch of shows in the Spring, can you tell us a bit about those? 

Actually, we just announced another one in Brussels! It’s part of a really lovely festival called Botanique. We just announced we’re going to play there on April the 30th. There’s been a good response already for that one!

Will these upcoming shows still be part of the Forever anniversary celebration, or will you be doing a more varied set? 

To be honest, we haven’t decided yet! I think we might do more of a kind of a mixture, maybe a few songs from the Loved album, but we’re not quite sure yet.

Right, and Mark played on Loved as well, yes? That first era of the band with Mark and Matt on guitar and Jim on drums had quite a groove going throughout the nineties. But then you changed lineups and your sound evolved from there…

Yeah, Mark actually first played with us in 1988, I think. And then he left in 1997/1998, soon after the Population Four album. We did a long American tour for almost every album we did up until that point, but I think the last time we were there was for Future Songs in 2002.

Yeah, I was supposed to go to the NYC show back then, but I was nineteen at the time and couldn’t get in, sadly… I should have snuck in! So, I’d love to talk about the upcoming Fuse reissue. I was curious to hear about any great stories from the era. I’ve read a lot about the early days, recording in your garage and how Martin Hannett was one of the first people to have heard the Fuse recordings. It seemed like things really ramped up quickly for the band from there… 

Well, the Martin Hannett thing, that was kind of an isolated incident, because Fuse was only a cassette. It was the first thing that we released. Jim and I spent months working on it, literally day and night. We used to do it in shifts, and I would work in most of the daytime, and he would work most of the night. We were still developing our sound at that stage and we weren’t quite sure what we were doing! We were kind of experimenting and trying to find our own path. We did what we could given the time constraints. We weren’t sure, to be honest, if it was any good. We’d never released anything, we’d never had a review or anything like that. For some reason, we also decided that we didn’t want to send the cassette out to anyone. But Ian Binnington from Bite Back! heard that Martin Hannett was looking for unsigned bands, because there was potentially going to be a new TV show up in Manchester. So Ian sent him a tape with a lot of local Portsmouth bands on it. When he called Martin back a few weeks later, Martin wasn’t sure who he was, or who any of the bands were, but then he remembered our song from that demo tape. We were very, very honored.

Yeah, you never know who hears things or how music travels around, especially in the cassette culture days…It’s amazing you got that kind of feedback early on.

Yeah, after that we kind of went back to the drawing board for a couple of years. We weren’t playing live at that stage, it was just me and Jim in my dad’s garage that we turned into a little tiny studio with the drum kit and everything in there. It took us a good two or two-and-a-half years to come up with the Self Non Self material which, at the time, we felt was more our identity, our real identity if you know what I mean.

I tell you what, literally dozens of people have asked us to reissue the Fuse tape, and we’ve always said no because we just thought that it was just our very early thing – that it was just a tape and we were happy to let it stay that way. It’s taken us decades to consider it, and it was really because of Jason (White), who is also the manager at 4AD. He’s so in tune with music and has very good instincts. He said “listen to it again Ali, would you just listen to it again for me?”

Do you often listen back to your music, or? 

Not often, no. But I listened to it with fresh ears and I could see what he was talking about. It was so early for us, listening to it now I’m kind of taken back – how did we produce those sounds with such basic equipment!?

Well, that’s exactly what I wanted to ask you next! How DID you produce those sounds with just the bare bones guitar and drums setup that you had back then? There was a lot of sonic experimentation taking place in those early days. 

Yeah! Well one of the key things that we were we were using very early on was a tiny sampler pedal, which was a similar size and shape as a distortion pedal. It was one of the very first sampling instruments that you could buy that didn’t cost a zillion pounds, you know? Jim used that for some of the drum sounds and we also used it on the voice as a delay and echo thing. Other than that, it was just guitars and the way we played. Jim always dreamt that his first instrument would be the drums, but he also plays guitars and bass and cello and keyboards, and, you know, whatever else. He’s kind of a multi instrumentalist, I guess.

Great to have that in your back pocket!

Yeah that definitely helps! So, I think everything we’ve ever done emerges quite naturally. We just make sounds and then see if it elicits a response in either Jim or me. The things that we both instantly connect to – that’s what ends up being a Cranes song. If one or the other of us doesn’t get it, then it gets left behind.

So I guess that leaves it pretty wide open to create whatever feels right and whatever comes to mind. I can’t imagine the two of you back in the day carefully selecting and mimicking records over the years, trying to carve out your sound that way, as some bands do. It sounds like this has always been a very organic process for you.

Yeah. It was quite important for us not to sound like anyone else directly. We used to edit ourselves. Jim’s kind of obsessed with the idea – if anything sounds remotely like someone else he’ll get rid of it. We were fans of other people’s music at the time of course, but it was a key thing in Cranes, to choose our own path…

Well, that’s certainly what’s always appealed to me about your music – that you’ve done your own thing. There are definitely bands that you’re peers with, like Slowdive, who you played live with in the early nineties, or Chapterhouse, who you were label mates with. But really, when I got into the band in the late nineties – I had never heard anything like your music. It was so singular, so different, so eclectic, and I haven’t heard all that much out there that I feel the same way about. I’ve always appreciated that. With that in mind, from the early days of being in the garage to the electronic material you’d produce in the 2000s, how did your writing process evolve over the years?

Well, I guess there were two big musical shifts for us. The first shift was, when we first signed to Dedicated. We were able to buy some new equipment, and we bought keyboards, which Jim had always wanted. Up until that point, we’d never had a keyboard that could make string sounds and orchestral sounds and piano sounds. So that was a big shift for us. On Fuse and Self Non Self, there were no keyboards. Wings of Joy, Forever, and Loved were all recorded in the same studio in London, called Protocol Studios. It was the same studio where everyone at the time recorded, including The Sundays, or My Bloody Valentine, who were recording Loveless at the time. So many bands who were recording in the early nineties recorded there, and that place felt like our home, just off Holloway Road in North London.

The more electronic stuff that you you mentioned, that was our third phase, after the year 2000. The old version of Cranes had finished – we ceased to be around 1998. Mark left in 1997 and got married after we did that last tour in America, and we pretty much stopped for a good three years. We weren’t sure what we were going to do or if we were going to record again. But then Jim and I just got together, I guess because we’re brother and sister, it’s hard to split up completely…  I had been living in London at that time and during that break at the at the end of the 90s, I’d been doing some other stuff. I had a couple of ideas for some songs and I came back down to Portsmouth one day, and Jim had couple of ideas for some songs. We basically just started to write and we felt that there was the basis for some new material, and that’s when Future Songs started to come together.

I recall that you considered changing the name of the band, but at heart, it was still just you and Jim, so it still felt right to be a Cranes record. Is that the case?

Yeah, that’s kind of right. They are quite two sort of distinct phases of the band, I guess. But it’s still Jim and I at the center of it.

I mean, it’s not like the electronic material came out of the blue – there were hints of that direction on Population Four, La Tragedie D’Oreste et Electre, and a lot of the EP material from that era. Some more delicate moments, electronic touches, and so on. So while the early, chaotic nature of the band wasn’t present on Future Songs, it wasn’t a total 180, in my opinion, minus the lineup change. So now that the original catalogue has been reissued, is there any talk of reissuing the most recent trio of records, the ones on Dadaphonic? 

Well, we haven’t started on that project yet. But people are asking, you know, especially because those records weren’t originally released on vinyl. It’s a bit early for us at the moment, but it’s definitely possible!

Going back to the gigs you’ve been playing – once you were committed to doing the shows and were back in the rehearsal room, was the focus really just on the older material? Did you happen to do any writing, whether it was accidental or intentional? 

To be honest, it was a lot of the focus was on the Forever songs, because quite early on, people asking if we were going to play the entire album. There are several songs on the album which we’d never played live before..

Yeah! I remember you mentioned at the EartH show that one of the songs had never been performed before, though I can’t remember which it was…

It was “Sun and Sky” – I don’t think we’d ever played it before and I’m not sure why we hadn’t… It’s not a difficult bass line, but I guess because I’m playing it and singing at the same time, I guess we just didn’t have enough time back in the day to rehearse it properly. But this time, I had months to practice it, so I did, and it eventually came together. I think when we first met up to rehearse after not having played together with this lineup for thirty years, our first song was “EG Shining.” And you know, it sounded the same as it always did all those years ago, which was kind of nice.

That’s one of the first tracks Mark had played on, right? 

Yeah, and it was it was one of the first songs we ever wrote, to be honest. Even though it didn’t come out until we were signed, we did it early on at a Peel Session. It was written a couple of years before we recorded it and released it on the Espero EP. It was an original Cranes song, that was one our earliest moments together.

It was great hearing such an intense response to songs like that, as well as “Inescapable” and “Starblood” when you played them. Do you still feel a connection to that material, or was it just something from the past that you exhumed for these shows? How does it feel to play those songs again?

So, that’s the weird thing, if you’d asked me a year or two ago, I’m not sure if I could have played those songs or if it would feel right at this point in my life. That said, there’s something that happens when Jim’s on the drums. One of those key moments in our past was when Jim decided he didn’t want to play drums live at that stage, so he changed to guitar. We had two or three different drummers in the years from 2000-2008. They were all great drummers, but the drumming style of those later albums were different, and of course these drummers used more electronic drum kits and pads and things like that where you can have more control and make more interesting electronic sounds. The earlier tracks were all oriented around Jim’s drum sound. For me, playing these early tracks needed to have Jim Shaw on the drums in order to feel right. That’s what made authentic and believable for me – Jim on drums and Mark on guitar, with Matt joining us for early rehearsals. It really made me connect to the material again. Something was there that I can’t quite describe but makes the songs come alive again.

I hate to jump the gun or anything, but do you think you’ll do any writing together – or are you still taking it one day at a time?

Well, you never know, you never know… There’s some writing going on but I can’t really elaborate! *chuckles*

Well, since we’re hinting at some vague things here – what’s the scoop on returning to America? Is that something we can look forward to in the coming years?

Ahh, well, I can’t say much at the moment, but I’ll give you a hint. Just recently we have been offered something in America and it’s looking very positive…

Well, I accept that you can’t tell us more, but that’s very promising news! We’ll stay tuned for some more details on that, if and when the time is right! So, here’s a more open ended question – do you have a favorite moment throughout all the years you’ve been together as a band? 

Favorite moment? Well, I mean obviously the tour with The Cure was completely awesome for us. I remember especially on the American leg of that tour, I remember just being happy every day, like every moment of every day, driving from city to city and playing these incredible arenas and auditoriums and stadiums, even…

How did that come about – how were you first approached by the band?

Apparently, Robert, and Simon had heard the Wings of Joy album, and they liked it. We had an agent at the time, and I think that’s how they approached us. We met them around that time, they did a few warm up shows before the tour, playing in much smaller venues in the UK. They played in our local town hall, which is called the Guild Hall in Portsmouth. We were invited to the show, and that’s where we met the band and that’s when they invited us on the tour.

Well, it was a perfect match, and obviously they’ve invited you back regularly since then, for the Trilogy shows and some other one-offs over the years. It seems like the door is always open!

Well, they’ve been so amazing to us over the years. Every few years we’ll get a call. I’ve chatted to Robert a few times recently, over email, and he’s really supportive of what we’re doing now. They’ll always be a really important part of our journey.

I’m so glad it’s still be so positive over the years. It seems like it’s a lifelong friendship with the two of you, and some of the other bands they’ve been friends with over the years, like And Also the Trees… 

Yeah, he’s pretty amazing…as you might imagine.

So what else are you planning with the back catalogue at the moment? It was great to see you bring the Dadaphonic brand back into the mix…

Yeah, the Peel Sessions release that came out last year was also under Dadaphonic, and Fuse is going to be on vinyl and CD as well. We weren’t sure if people would want a CD, but people are still requesting it. We won’t do a huge amount of them, but it’s there if people want it.

Yeah, people come back around again when it comes to physical media. I mean, after growing up in the CD era, I’ve switched fully to vinyl and digital. I don’t miss having to pack and carry a CD wallet to take things with you, and really like having a lot of music at your fingertips these days, through all kinds of mediums and services. It’s great to see the back catalogue has been well cared for after all these years… How has streaming treated you? 

I think most of our catalogue is now streaming, which helps for people who haven’t discovered us or heard most of what we’ve recorded, even some of the more rare things like La Tragedie… For many years, we didn’t think anyone would be interested in all that stuff. But Jason’s really helped us to find that focus again.

What about the Inrain single you did with Rudy of A.R. Kane? Is that something people still ask about? 

Yeah, and actually, Rudy and I have stayed in touch over the years. Every few months we get together on the phone. We’ve had several people offer to reissue it for us, and I suppose we’re just waiting for the right moment there as well. He just did a really great A.R. Kane reissue box set and has a few other projects in the works, so perhaps we’ll see an Inrain reissue in the near future!

I love seeing bands reactivate on social media, to come out of a long slumber and just poke their heads out on social media, like you or A.R. Kane and maybe even Catherine Wheel are doing at the moment. As a fan, I always get extremely, almost scarily excited when this happens. I feel like Cranes were one of the last bands from my youth that I never had the chance to see over the years, and I’m glad you’re back. Absence makes the heart grow fonder, as they say, and with so many bands reforming and having a second victory lap, so to speak. I hope it’s been great experience for you. 

Yeah, it certainly has. We’re taking it slowly but we’re really, really happy that people seem to be receiving the idea of us in a such a good way. We’ve always been flattered when people ask after all these years, but it never was the right moment until now. But really, we’re glad to be here! §

Cranes – Fuse LP/CD
1. Pillow Panther
2. Fuse
3. Valentine
4. Gas-Ring
5. Things That I Like
6. Wrench
7. Fracture
8. New Liberty (previously unreleased)

Order via Bandcamp (UK and US) and via Linktree

Cranes 2024 tour dates: 

• Tue April 30th – Brussels – Orangerie (Boutanique Festival)
• Thu May 2nd – Rotterdam – Maassilo
• Thu May 9th – Leeds – Brudenell Social Club
• Sat May 11th – London – Islington Assembly Hall

Header photo by Phil Nicholls

The post Hopes Are High | A Conversation With Alison Shaw of Cranes appeared first on Post-Punk.com.

An honest sacrifice

Returning to the dirt below

Enough to end my life

Portland-based act Dancing Plague, a solo project of musician Conor Knowles, has been a steady presence in the dark/cold electronic music scene, releasing a constant flow of independent releases rich in EBM, goth, industrial, and darkwave influences. Now, they announce the release of a spooky new single, Echoes of the Void.

In a droll twist on the time-honoured theme of love’s labours lost, the lyrics to Echoes of the Void from their upcoming album Elogium sketch a romance fraught with drama and decisive turns, where the protagonist finds themselves not just metaphorically but almost comically outmatched by their partner’s formidable presence, evoking the sensation of being gently bulldozed by a feather. This relationship, rife with overtones of doom and high-stakes emotional poker, leads our hero to muse upon an exit as grandiose as it is earthbound, pondering a love so intense it could well warrant a finale beneath the turf.

Complementing this operatic angst is a surrealistic video that C.W. Carter has conjured up, with Hazel Ramsey taking the lead in what could only be described as a spectral fever dream. Phantoms and silhouettes play tag in the corridors of a house that might well double as a stage for the world’s most genteel haunting, bringing to mind the strange, unsettling short films of Maya Deren.

Watch below the video for “Echoes Of The Void” below:

In a brilliant fusion of aggressive electronic rhythms with pop hooks, Dancing Plague intertwines poignant lyrics with the complex emotions of uncertainty in life, love, and aspirations. Against a backdrop of throbbing basslines, rave-inspired synths, and dynamic drum beats, the stories weave through longing, regret, and the difficult acceptance of change and loss. Knowles’ emotive baritone voice adds depth, portraying the relentless passage of time’s erosion.

The arrangement pays homage to the influences of Depeche Mode, Ministry, Cold Cave, and Kontravoid, blending a nostalgic yet innovative vibe. This blend of influences creates a richly emotional yet refreshingly modern sound, marking a unique point in the continuum of melancholic music.

Elogium is out on the 22nd of March via Avant! Records. The album will be available on yellow-orange vinyl, limited to a pressing of 250, and CDs with a limited printing of 200.

Pre-order and pre-save here.

Dancing Plague will be on tour across the United States this Spring:

• Mar 15 The Paramount Los Angeles (LA), CA
• Mar 16 Til Two Club San Diego, CA
• Mar 17 The Beast Tempe, AZ
• Mar 18 Owls Club Tucson, AZ
• Mar 19 Moonlight Lounge Albuquerque, NM
• Mar 20 The Rock House El Paso, TX
• Mar 21 Hotel Vegas Austin, TX
• Mar 22 Paper Tiger San Antonio, TX
• Mar 23 Rubber Gloves Rehearsal Studios Denton, TX
• Mar 24 House of Blues – New Orleans New Orleans, LA
• Mar 25 The HandleBar Pensacola, FL
• Mar 27 Crowbar Ybor City, FL
• Mar 28 Gramps Miami, FL
• Mar 29 Conduit Winter Park, FL
• Mar 30 Underbelly Jacksonville, FL
• Mar 31 The Masquerade – Hell Atlanta, GA
• Apr 01 Grey Eagle Music Hall Asheville, NC
• Apr 02 The Pour House Music Hall Raleigh, NC
• Apr 03 Richmond Music Hall Richmond, VA
• Apr 04 Black Cat Washington, DC
• Apr 05 Sonia Cambridge, MA
• Apr 06 First Unitarian Church Philadelphia, PA
• Apr 07 Le Poisson Rouge New York (NYC), NY
• Apr 10 The Mockbee Cincinnati, OH
• Apr 11 Portal Louisville, KY
• Apr 12 Subterranean Chicago, IL
• Apr 13 Duffy’s Tavern Lincoln, NE
• Apr 14 Hi-Dive Denver, CO
• Apr 14 Hi-Dive Denver, CO
• Apr 15 The DLC (Quarters Arcade Bar) Salt Lake City, UT
• Apr 17 The Big Dipper Spokane, WA
• Apr 19 The Coffin Club Portland, OR
• Apr 27 Bar Orwell Toronto, ON
• May 09 Vancouver Bc Vancouver, BC

Follow Dancing Plague:

• Instagram
• Facebook

The post Portland Darkwave Project Dancing Plague Debuts Video for “Echoes of the Void” appeared first on Post-Punk.com.

Emerging from this decade of change and realignment,however, has left Beth with what feels like a renewed purpose. “Now I’ve come out of the other end, I just think, you’ve got to be brave,” she says.

Tony Oursler’s involvement in directing the video for Floating On A Moment adds a significant layer of artistic depth to the project, given his reputation as a multi-media artist and director on Bowie’s video for Where Are We Now?. Oursler is renowned for his innovative use of video, sculpture, and performance to create immersive, multimedia experiences.

“When I first heard Floating On A Moment it literally transported me from place to place, filling me with kaleidoscopic emotions and visions,” says Oursler. “If possible, I wanted to capture that psychic liquid in this video. Beth’s work is so powerful it can lead us through life’s forests and fires, revealing glimpses of possible futures. With a voice and music like that I knew we had to make images which are open, somehow speculative.”

Watch the video below:

Featuring ten beautiful new tracks recorded over a period of ten years, the album was produced by James Ford (Arctic Monkeys, Depeche Mode, The Last Dinner Party) and Beth Gibbons with additional production by Lee Harris (Talk Talk).

In addition to Beth’s work with Portishead, her Out Of Season album with Rustin Man (2002) and the recording of her performance of Górecki’s Symphony Of Sorrowful Songs (2014), she has most recently been heard collaborating with Kendrick Lamar on 2022’s Mother I Sober from his Mr. Morale & the Big Steppers album.

Lives Outgrown will be available on the following formats: Standard LP, Deluxe LP (Tip-on Gatefold sleeve, heavyweight vinyl, 4 page booklet, 12 page A5 studio scrapbook), Standard CD and Deluxe CD (casebound book).  Purchases from DominoMart & bethgibbons.net come with a signed postcard!

Tracklist 

1. Tell Me Who You Are Today 
2. Floating On A Moment 
3. Burden Of Life 
4. Lost Changes 
5. Rewind 
6. Reaching Out 
7. Oceans 
8. For Sale 
9. Beyond The Sun 
10. Whispering Love 

Beth will return to the live arena to perform the following concerts in the UK and Europe in May and June.

Tickets will be available from Beth’s website.

• 5/27: La Salle Pleyel – Paris
• 5/28: Theater 11 – Zürich
• 5/30: Primavera Sound Festival – Barcelona
• 5/31: La Bourse Du Travail – Lyon
• 6/02: Uber Eats Music Hall – Berlin
• 6/03: Falkonersalen – Copenhagen
• 6/05: Tivoli Vredenburg (Main Hall) – Utrecht
• 6/06: Cirque Royal – Brussels
• 6/09: The Barbican Centre – London
• 6/10: Albert Hall – Manchester
• 6/11: Usher Hall – Edinburgh

Follow Beth Gibbons:

• Website
• Facebook
• Instagram
• YouTube
• Spotify
• Apple Music

The post Beth Gibbons Announces Debut Solo Album “Lives Outgrown” — Watch Video for “Floating On A Moment” appeared first on Post-Punk.com.

KMFDM’s early work began in Germany, but their move to the USA marked a significant change. Signing with Chicago’s influential Wax Trax! label led to increased recognition. The 90s saw the band continually evolve, with a dynamic roster of members, establishing them as a prominent name in the US music scene. Their reach extended from climbing the Billboard charts to inclusion in soundtracks for major films like “Bad Boys” and “Mortal Kombat,” highlighting their broad impact.

Rising from the ashes with a fresh, fierce ferocity, KMFDM storms into their 40th year with LET GO, their 23rd studio album. Sascha “Käpt’n K” Konietzko, Lucia Cifarelli, Andy Selway, and Andee Blacksugar, the core powerhouse of the group, deliver an electrifying blend of pulse-pounding rhythms, scorching electronics, and blistering guitars. Vocals laden with grit, growl, and grind cut through the mix, offering a raw commentary on the social, political, and cultural turmoil swirling in today’s world. This latest offering from KMFDM isn’t just a celebration of their longevity; it’s a battle cry echoing through the chaos of our times.

Order the LET GO CD here and the vinyl here, via Metropolis Records.

Four decades into their journey, KMFDM’s Ultra Heavy Beat continues to defy the norms, eschewing pity and regret. Instead, it raises a defiant middle finger to a world engulfed in chaos, standing as a beacon of rebellious spirit and innovation.

Check on the video for the track “AIRHEAD” below:

Following the album’s release, KMFDM is set to embark on a month-long U.S. tour in the following cities. Don’t miss them!

Order tickets here.

TOUR DATES:

• Mar 6 Atlanta, GA The Masquerade – Heaven
• Mar 7 Carrboro, NC – Cat’s Cradle
• Mar 8 Baltimore, MD- Baltimore Soundstage
• Mar 9 New York (NYC) – Irving Plaza
• Mar 10 Philadelphia, PA – Brooklyn Bowl Philadelphia
• Mar 11 Harrisburg, PA – Harrisburg Midtown Arts Center Capitol Room
• Mar 12 Boston, MA – Royale Boston
• Mar 14 Cleveland, OH – Agora Theatre & Ballroom
• Mar 15 Chicago, IL – Metro
• Mar 16 Milwaukee, WI – The Rave/Eagles Club

Follow KMFDM:

• Website
• Bandcamp
• Merch
• Facebook
• Instagram 
• YouTube
• Spotify
• Apple Music 

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Frontman Robbie Grey reflects on the band’s long-standing observations of political and corporate corruption, noting the striking similarities between the eras of Thatcher and Reagan and today’s climate with figures like Donald Trump:

 “I remember first coming to America in the early-’80s,” Grey says. “We had Margaret Thatcher and you had Ronald Reagan. And then fast forward to today to Donald Trump and all the politicians and corporate organizations that have followed — along with their corruption and greed. It’s the same thing 40 years later, really. It’s the same old shit that makes the ordinary person feel sick.”

The accompanying music video for “Not My Leader” is a must-watch, offering a compelling visual representation of the song’s themes and the band’s artistic vision.

Watch the video below.

In the autumnal serenity of Rhinebeck’s Clubhouse, NY, during the latter part of 2022, the seeds for Modern English’s forthcoming album 1 2 3 4 were sown. Coming off the heels of an energetic tour, the band, in collaboration with the renowned producer Mario J. McNulty — known for his work with legends like David Bowie, Lou Reed, and Nine Inch Nails — began weaving together the new record. Their aim was to bottle the dynamic essence of their stage shows, blending it seamlessly into the fabric of the new album.

1 2 3 4 serves as a vibrant testament to Modern English’s enduring spirit, echoing the raw, post-punk energy of their early days while also paying homage to their pop-driven albums, After the Snow and Ricochet Days. The album delicately balances references to the past, from the fragility of nature to the complexities of love, with an eager exploration of new artistic horizons. In doing so, Modern English not only revisits the fervor that defined their initial sound but also strides boldly forward, embracing new creative realms with open arms.

“It’s been a big journey for everybody, and our early days are really important to us,” says frontman Robbie Grey. “We haven’t changed that much. We’re still the same people inside. And the original members are the sound of the band — Stephen on the keyboards, making lots of noises with all his analogue synths, and then the sounds made by guitarist Gary or bassist Mick. If you take some of those components away, you won’t have the Modern English sound.”

1 2 3 4 is out on February 23rd, 2024

Pre-Order Here

This summer, Modern English is set to grace the Totally Tubular Festival tour, joining a stellar lineup that includes Thomas Dolby, Thompson Twins’ Tom Bailey, Men Without Hats, The Romantics, Bow Wow Wow, Tommy Tutone, and The Plimsouls.

Modern English  2024 Tour Dates

MARCH

• 09 — Mexico City, MX — Foro Puebla *
• 12 — Tucson, AZ — Rialto Theatre *
• 13 — Los Angeles, CA — Teragram Ballroom *

APRIL

• 11 — Dortmund, DE — Musiktheater Piano *
• 12 — Frankfurt, DE — Batschkapp *
• 13 — Berlin, DE — Huxleys *
• 14 — Hamburg, DE — Knust *
• 22 — Copenhagen, DK — Little Vega #
• 24 — Oberhausen, DE — Kulttemple #
• 25 — Hague, NL — Paard #
• 26 — Amsterdam, NL — Paradiso #
• 27 — London UK — Dingwalls #

MAY

• 02 — Paris, FR — Le Petit Bain #

JUNE

• 28 — Santa Barbara, CA – Santa Barbara Bowl ^
• 29 — Los Angeles, CA – YouTube Theatre ^
• 30 — Oakland, CA – Fox Theatre ^

JULY

• 03 — Phoenix, AZ — Arizona Financial Theatre ^
• 06 — Englewood, CO — Fiddler’s Green Amphitheatre ^
• 09 — Irving, TX — Pavilion at Toyota Music Factory ^
• 10 — Houston, TX — 713 Music Hall ^
• 13 — Raleigh, NC — Red Hat Amphitheatre ^
• 16 — Bridgeport, CT — Hartford Healthcare Amphitheatre ^
• 17 — Boston, MA — MGM Music Hall at Fenway ^
• 18 — New York, NY — Pier 17 ^
• 19 — Atlantic City, NJ — Hard Rock Live at Etess Arena ^
• 20 — Bushkill, PA — Poconos Park Amphitheatre ^
• 23 — Laval, QC — Place Bell ^
• 24 — Mississauga, ON — The Theater at Great Canadian Casino Resort ^
• 26 — Detroit, MI — Meadowbrook Amphitheatre ^
• 27 — Cincinnati, OH — Riverbend Music Center Amphitheatre ^
• 28 — Cleveland, OH — Blossom Amphitheatre ^

* — supporting The Buzzcocks
# — headline appearance
^ — Totally Tubular Festival (feat. Thomas Dolby, Thompson Twins’ Tom Bailey, Men Without Hats, The Romantics, Bow Wow Wow, Tommy Tutone, The Plimsouls)

Follow Modern English:

• Website
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• Twitter

The post Modern English Debut Video for “Not My Leader” from New Album “1 2 3 4” appeared first on Post-Punk.com.

KMFDM’s musical journey began with their early albums, recorded in Germany, but it was their move to the USA that marked a turning point. Signing with Chicago’s seminal record label Wax Trax! catapulted them to greater heights of success. The 90s saw the band constantly reinventing itself through a revolving door of members, securing their status as a household name in the US music scene. Their impact stretched from climbing the Billboard charts to featuring in blockbuster movie soundtracks, including notable films like Bad Boys and Mortal Kombat.

Rising from the ashes with a fresh, fierce ferocity, KMFDM storms into their 40th year with ‘LET GO‘, their 23rd studio album. Sascha “Käpt’n K” Konietzko, Lucia Cifarelli, Andy Selway, and Andee Blacksugar, the core powerhouse of the group, deliver an electrifying blend of pulse-pounding rhythms, scorching electronics, and blistering guitars. Vocals laden with grit, growl, and grind cut through the mix, offering a raw commentary on the social, political, and cultural turmoil swirling in today’s world. This latest offering from KMFDM isn’t just a celebration of their longevity; it’s a battle cry echoing through the chaos of our times.

KMFDM delivers a tantalizing preview of their latest opus with the album’s title track: a high-octane fusion of driving techno, dance, and funk, bursting with energy and rhythm. True to their reputation for stylistic diversity, the band seamlessly bridges genre gaps, melding sounds into what has come to be revered as the Ultra Heavy Beat.KMFDM’s continues to evolve while maintaining the core essence that fans have come to know and love – a relentless, pulsating force. Konietzko and Cifarelli prove as vicious a team as ever, equally sharing vocal and lyrical duties, with longtime associate MC Ocelot appearing to give ‘NEXT MOVE’ an extra touch of raucous rap energy. All the while, Blacksugar’s prowess on six-strings continues to awe and astound, backed by Selway’s dynamic drumming, meshing with Konietzko’s masterful programming.

“Never let them know your next move,” says Käpt’N K, laying down the band’s primary philosophy on this record, commanding you to let go of precept and pretense, to hold on tight, leave your worries behind, and get ready to rock!

Watch the video for “Let Go” below:

Mixed and mastered by the esteemed Benjamin Lawrenz—known for his work with VNV Nation, Deep Purple, Saga, Mono Inc., and Lord of the Lost—at Hamburg’s Chameleon Recording Studios, ‘LET GO‘ is a sonic juggernaut that marks KMFDM’s 40th anniversary with a bang. The album’s unyielding energy is visually captured in Aidan “BRUTE” Hughes’ distinctive cover artwork, reflecting the relentless force within.

Four decades into their journey, KMFDM’s Ultra Heavy Beat continues to defy the norms, eschewing pity and regret. Instead, it raises a defiant middle finger to a world engulfed in chaos, standing as a beacon of rebellious spirit and innovation.

The album LET GO will be out via Metropolis Records on February 2nd on CD, digital streaming, and a limited edition vinyl double LP.

Pre-save and preorder here.

Following the album’s release, KMFDM is set to embark on a month-long U.S. tour in the following cities.

Order tickets here.

TOUR DATES:

Follow KMFDM:

• Website
• Bandcamp
• Merch
• Facebook
• Instagram 
• YouTube
• Spotify
• Apple Music 

The post KMFDM Debut Title Track From Forthcoming New Album “Let Go” appeared first on Post-Punk.com.

In jamcod, dizzying electronica cozies up to William Reid’s gargantuan guitar riffs like old friends at a high school reunion. Meanwhile, at the track’s core, Jim Reid’s vocals swing between chant and call to arms, as if he’s leading a ritual to conjure the spirit of ’90s alt-rock. The result? A song that’s part throwback, part trailblazer – and all Jesus and Mary Chain. It’s a reassuring reminder that while the brothers might be celebrating four decades in the game, they’re not just spinning their wheels. They’re burning rubber and leaving a trail of revitalized, yet comfortably familiar, tunes in their wake.

“Hopefully people will expect a Jesus and Mary Chain record, and that’s certainly what Glasgow Eyes is,” says Jim Reid. “Our creative approach is remarkably the same as it was in 1984, just hit the studio and see what happens. We went in with a bunch of songs and let it take its course. There are no rules, you just do whatever it takes. And there’s a telepathy there – we are those weird not-quite twins that finish each other’s sentences.”

jamcod is accompanied by a video directed by Ben Unwin, who has conjured up a visual counterpart to the track that cleverly interweaves stock footage with shots of the band. The result is a glitchy, lo-fi transmission that echoes the song’s ethos perfectly. This kaleidoscope of imagery that feels like flipping through a particularly artsy, slightly off-kilter television channel.  In this video, Unwin both captures and amplifies the essence of the band, turning what could have been a straightforward performance into a mesmerizing collage that’s as rebellious and unconventional as JAMC itself.

Watch the video for “jamcod” below:

At Mogwai’s Castle of Doom studio in Glasgow, a place that might sound more like a lair for a comic book villain than a recording space, The Jesus and Mary Chain have been busy. Here, Jim and William Reid have been stitching together their latest opus, Glasgow Eyes. This endeavour follows the smooth sailing that brought their 2017 album, Damage and Joy, to the spotlight as their most successful record in two decades.

What’s cooking this time, you ask? Glasgow Eyes marries their signature blend of sweet melody and searing feedback with a more profound homage to their musical inspirations like Suicide and Kraftwerk. Adding a pinch of spice to an already flavourful dish, there’s also a newfound zest for the spontaneous side of jazz. The Jesus and Mary Chain are watering their roots with something entirely fresh.

Track List:

1. ‘Venal Joy’
2. ‘American Born’
3. ‘Mediterranean X Film’
4. ‘jamcod’
5. ‘Discotheque’
6. ‘Pure Poor’
7. ‘The Eagles and The Beatles’
8. ‘Silver Strings’
9. ‘Chemical Animal
10. ‘Second of June’
11. ‘Girl 71’
12. ‘Hey Lou Reid’

jamcod and Glasgow Eyes not only extends The Jesus and Mary Chain story, but their back-to-basics approach feels like they’re also simultaneously going back to their roots. From the incendiary Psychocandy debut and its classic single Just Like Honey onwards, the Reid brothers steadily became the misfits who made good without ever compromising their sound or identity. They’ve returned to their legacy in recent years, with this year’s live album Sunset 666, reissues of the Munki, Damage and Joy and Live At Barrowlands albums on Fuzz Club, plus a limited edition 7” single release for Third Man Records.

The Reid brothers are strapping in for a tour that’s less of a routine jaunt and more of a triumphant parade across the UK and EU in 2024: a celebration of endurance and evolution. As they prepare to hit the road, they’re set to relive, reimagine, and rejoice in a storied career that’s spanned decades, influenced generations…and now, finds them at a creative zenith.

In addition to its digital release, physical formats include CD, vinyl and a 45 rpm double-vinyl with a gatefold sleeve. Fans who pre-order Glasgow Eyes here will receive access to a pre-sale for tour tickets, which opens at 11am GMT today and will be open until remaining tickets go on general sale from 10am GMT on Friday, December 1st.

2024 TOUR-DATES

• March 22 – Manchester, UK @ Albert Hall
• March 25 – Dublin, IE @ Olympia
• March 26 – Belfast, UK @ Limelight 1
• March 27 – Edinburgh, UK @ Usher Hall
• March 30 – London, UK @ Roundhouse
• April 2 – Copenhagen, DK @ Amager Bio
• April 3 – Gothenburg, SE @ Pustervik
• April 5 – Oslo, NO @ Rockefeller
• April 6 – Stockholm, SE @ Munich Brewery
• April 7 – Malmo, SE @ Plan B
• April 9 – Hamburg, DE @ Markthalle
• April 11 – Berlin, DE @ Huxleys
• April 12 – Cologne, DE @ Live Music Hall
• April 13 – Paris, FR @ Elysée Montmartre
• April 15 – Geneva, CH @ L’Usine
• April 16 – Winterthur, CH @ Salzhaus
• April 17 – Milan, IT @ Alcatraz
• April 19 – Krems, AT @ Donaufestival
• April 20 – Heidelberg, DE @ Halle O2
• April 21 – Tilburg, NL @ Roadburn Festival
• April 23 – Brussels, BE @ AB
• April 24 – The Hague, NL @ Paard

Follow The Jesus and Mary Chain:

• Twitter
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• YouTube
• Facebook
• themarychain.com

The post The Jesus and Mary Chain Debut Video for “jamcod” From Forthcoming New Album “Glasgow Eyes” appeared first on Post-Punk.com.

Their universal message, however, firmly occupies the present: tackling contemporary struggles and crafting profoundly personal elegies that resonate deeply with those navigating our current complexities and uncertainties. Their newest single, A Ready Defense, delves into the complexities of human nature and the perennial struggle to transcend the challenges of the winter season, both literal and metaphorical. It serves as a reminder of our shared humanity, our capacity for empathy, and the ongoing quest to find ways to realize these ideals even in the face of adversity.

“The song came to me in a fever dream when I was very ill while visiting family during a holiday season a few years ago,” says Chisolm Thompson. “I wouldn’t say this was ever meant to be a ‘Christmas’ song as such, but it’s a song about winter and how I believe it is, after all these centuries, still the hardest time of the year for humanity. Deep down I think it brings out our best nature to want to look for the greater good in everyone, but I think we’re often tortured by the inability to find ways to do it.”

Thompson’s introspective reflection provides a deep insight into the thematic depth of A Ready Defense. It reveals a desire for unity and the innate urge to strive for the betterment of all, but also acknowledges the painful struggle and personal anguish that often accompany this pursuit. This is punctuated by the anguished vocals accompanied by a persistent military-style drum beat, evoking the sound of a slow, steady march forward in the face of adversity.

“I’ve always struggled with guilt during the season of celebrating, knowing there’s so much loss out there during a time of excess, with so many with so little,” he says. “It’s always most tragic when we’ve lost good friends to crushing loneliness, substance abuse, the weight of the world. I often reflect on the power of acknowledgement of other people. I often dwell on the homeless and the lonely and wish there was a way to give something more to people. Sometimes it seems the mid-winter season is the time when everyone genuinely endeavors to acknowledge and celebrate the existence of one another; of the recognition of dignity in someone else’s humanity.”

Listen below or at your streaming service of choice here.

After a triumphant 2019 UK tour, backing Spear of Destiny, the Athens, Georgia-based group ventured onto their inaugural full UK tour and unveiled their debut tour album, ‘The Sound Of Broken Worlds.’ Navigating pandemic-induced travel constraints, they showcased their inventive spirit by crafting a cross-continental concert experience. In this innovative performance, bandmates played live while projecting their virtual presence from diverse locations. This groundbreaking concert is now available in the recently released DVD ‘Live and Transatlantic’ or as an exclusive live-streamed event.

Feather Trade have shared stages with The Soft Moon, Deerhoof, Daniel Johnston, Florence and the Machine, and The Maccabees, as well as The Blinders and Peter Hook and The Light.  The band is currently recording their debut album with US producer Matt Yelton (Pixies, Frank Black and the Catholics),

Feather Trade now tour the UK this November 2023 support of  “A Ready Defense,” and have a series of dates lined up in late April/early May, as well as festival appearances in the summer and fall of 2024. UK fans, take note:

• Sat 18 SALFORD The Eagle Inn
• Wed 22 NOTTINGHAM The Chapel
• Thu 23 YORK Fulford Arms
• Tue 28 OXFORD The Bullingdon (with The Chameleons)

Follow Feather Trade:

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The post The Winter of Loneliness — Manchester’s Feather Trade Debuts Emotional New Single “A Ready Defense” appeared first on Post-Punk.com.

The group’s frontwoman, vocalist, and songwriter Josephine Olivia (formerly of Blacksage) exhibits an ephemeral quality reminiscent of Hope Sandoval or Alison Shaw (Cranes). Yet, she carries the adaptability of David Bowie and the authoritative presence of Siouxsie, Diamanda Galas, and Lisa Gerrard of Dead Can Dance. In this venture, she collaborates with the talented Chris Moore, known for his work with Repulsion, Coke Bust, and The Rememberables.  The outfit is rounded out with the talents of Pat Vogel (bass, guitar) and Tim Bean (guitar).

Olivia’s voice elegantly rises above the entrancing melody, echoing influences from goth to dream pop, indie, and classic pop nuances. The band cites inspiration from the likes of Bauhaus, the early work of Ministry, Sisters of Mercy, Zounds, and Killing Joke.

The visual piece was filmed at Baltimore’s renowned Ottobar, under the directorial and editorial guidance of Faiza Kracheni, with Bryan Lee Taylor handling the cinematic lenswork.

“Superstition is one of the first songs we wrote together, carving out a permanent place in our hearts,” says the band. “It evokes a mysteriously sensual landscape with valleys and peaks, an underlying driving and electrifying motion that bends and bows but never breaks. It continually courses, connecting mind, body and spirit- something stimulating, now visually visceral by way of video. We decided to shoot it at Ottobar which has now been the location of three of our videos. It’s like a second home to us…It’s meant to be a bit of a headfuck- are the dancers real or hallucinated?  Is the space imagined, liminal or tangible? We wanted it to feel magical and all-powerful- something ephemeral yet deeply memorable. Our friends Missy and Eden are the stars- both are spectacular dancers and phenomenal people, so overall it was very enjoyable to shoot. In the end, it feels like a lucid fever dream- one wrought with sapphic seduction and tantalizing temptation that’s a little fuzzy around the edges.”

Watch the video for “Superstition” below:

Their debut album, VESSEL, summons something sinister and sexy, blazing their own trail in the darkwave / goth / industrial arena. VOSH’s 12-track debut album “Vessel” bursts with explosive energy, juxtaposing an icy goth cool with red hot drama.  Recorded at Moore/Olivia’s shared home, Moore looped in longtime collaborator/producer/engineer Kevin Bernstein from Developing Nations in Baltimore for assistance on the mix, with mastering done by Magnus Lindberg (Tribulation, Russian Circles, Lucifer, Hellacopters, Frida Hyvönen). Vosh has recently shared the stage with Clan of Xymox, The Bellwether Syndicate, and NYC’s The Silk War.

You can order the album here

VOSH is currently on tour in North America through November 21st.

Tour Dates:

• Thu, Oct 26 – Austin TX @ LEVITATION – Elysium
• Fri, Oct 27 – Memphis TN @ Zen House
• Sat, Oct 28 – Carbondale IL @ PK’s
• Tue, Oct 31 – Indianapolis @ Black Circle
• Wed, Nov 1 – Hamtramck, MI @ Small’sDetroit, MI @ Small’s
• Thu, Nov 2 – Milwaukee WI @ X-Ray Arcade
• Fri, Nov 3 – Chicago IL @ The Burlington
• Mon, Nov 6 – Minneapolis @ Red Sea
• Tue, Nov 7 – Omaha @ Reverb Lounge
• Wed, Nov 8 – Denver @ The Crypt
• Fri, Nov 10 – Portland @ Coffin Club
• Sat, Nov 11 – Vancouver @ The Vault
• Sun, Nov 12 –Seattle @ Funhouse
• Tue, Nov 14 – San Francisco CA @ Great American Music Hall
• Wed, Nov 15 – Los Angeles CA @ Gold Diggers
• Thu, Nov 16 – Tempe AZ @ The Beast
• Fri, Nov 17 – El Paso TX @ Mona Bar
• Sat, Nov 18 – San Antonio TX @ Paper Tiger
• Sun, Nov 19 – Houston TX @ The End
• Tue, Nov 21 – New Orleans @ The Goat

Follow VOSH:

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• Facebook

The post DC Darkwave Ensemble Vosh Debuts Shadowy and Sensual Video for “Superstition” appeared first on Post-Punk.com.

Their six studio offerings have solidified their stature as one of the UK’s most esteemed musical collectives. The long-running project, helmed by Matt Johnson, exudes a creativity that is both fluid and unpredictable. Recent years have seen him and The The venture into the domain of film soundtracks, contributing to projects as diverse as Hyena, Tony, Muscle, and Moonbug.

2018 marked the first time The The had played live in 16 years, and included a trio of London shows at The Royal Albert Hall, Brixton Academy and The Troxy, followed by a world tour encompassing venues in Europe, North America and Australia. The live show at The Royal Albert Hall was also made available as the eponymous The Comeback Special, a multi-format release which included a double live album, art book and a Tim Pope-directed concert film. For this, Johnson collaborated with former The The stalwarts: James Eller handling the bass, DC Collard at the keyboards, and Earl Harvin behind the drums. They were complemented by the fresh talent of Barrie Cadogan on guitar.

In a highly anticipated move, Matt Johnson will usher The The onto the stage once more, marking their first significant tour since the memorable 2018 revival. The spotlight now shines on four prominent U.K. performances slated for next September’s “Ensouled World Tour 2024.” Speculation abounds on whether the same 2018 ensemble will remain intact – and if there’s a fresh album waiting in the wings to accompany their on-stage endeavours, since Johnson has released several new The The songs via 7-inch single in recent years.

Spanning from September 25th to 30th, The The will grace stages in Edinburgh, Wolverhampton, London, and Manchester.

Those subscribed to the band’s newsletter, the vanguard of their fanbase, will enjoy the privilege of securing the first tickets at 10 AM on October 11th.

You can sign up for the newsletter here.  The general on-sale follows at 10 a.m. Friday, Oct. 13.

The The “will also head out globally next year on their Ensouled World Tour, full details of which will be announced shortly,” Johnson announced on social media.

Ensouled World Tour 2024 Tour Dates:

• Sept. 25: Usher Hall, Edinburgh, UK
• Sept. 27: The Civic at The Halls, Wolverhampton, UK
• Sept. 28: Alexandra Palace, London, UK
• Sept. 30: The Apollo, Manchester, UK

Watch ‘Sweet Bird Of Truth’ from The Comeback Special tour:

Follow The The:

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