Last chance to bid for tickets to Eric Clapton’s Ginger Baker tribute gig

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On Monday (February 17), London’s Eventim Apollo Hammersmith will host Eric Clapton & Friends: A Tribute to Ginger Baker, a concert honouring Baker’s lifetime in music including Clapton and Baker’s work together in Cream and Blind Faith.

The show has long since sold out, but there are still six pairs of seated tickets and 17 pairs of standing available to bid for in a silent auction. As nominated by Baker’s family, proceeds will go to the Leonard Cheshire charity, which offers life-changing support to disabled people around the world.

Go here to make your sealed bid. The auction closes at 9pm GMT tonight (February 12) at which point the highest bids will get the tickets.

David Gilmour and Polly Samson plot ‘words and music’ tour

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Polly Samson’s new novel, A Theatre For Dreamers, will be published by Bloomsbury on April 2.

It’s set among the bohemian community on the Greek Island of Hydra circa 1960, and features Leonard Cohen and his girlfriend Marianne Ihlen as characters.

Samson will launch the novel with three “evenings of words and music” alongside her husband David Gilmour. Each of these events will feature Polly Samson in conversation with journalist Rosie Boycott, readings, film and live music, including a new song “Yes, I Have Ghosts” written by Gilmour and Samson. Dates below:

Monday 30th March – Manchester, Royal Northern College of Music
Tuesday 31st March – Birmingham, Town Hall
Thursday 2nd April – London, Central Hall Westminster

Tickets go on sale on Friday (Feb 14) at 10am from here.

Ticket prices include a signed first edition of A Theatre For Dreamers and an exclusive portrait of Polly Samson and David Gilmour taken on Hydra and signed by them both.

Björk, Spiritualized, Ride and Tangerine Dream for Bluedot

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Björk will close this year’s Bluedot festival, which takes place at Cheshire’s Jodrell Bank Observatory on July 23–26 July. Her uniquely commissioned performance will feature Manchester’s Halle Orchestra and bespoke projections on the giant Lovell Telescope.

Metronomy and Groove Armada will also headline the main stage, while other big names on the bill include Spiritualized, Roisin Murphy, Squarepusher, Tangerine Dream, Ride, Daniel Avery and EOB (the new solo project of Radiohead’s Ed O’Brien).

Also booked to play the festival are Anna Meredith, Henge, Pussy Riot, BCUC, Beak> and A Certain Ratio.

Away from the music, there are performances entitled Celebrating 42: Hitchhikers Guide To The Galaxy Live and Is David Bowie A God?, plus an appearance by Adam Buxton.

Tickets go on sale on Friday (Feb 14) from the official Bluedot site.

Jeff Beck announces 2020 UK tour

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Guitar maestro Jeff Beck has announced a 2020 UK tour, including two dates at London’s Royal Albert Hall in May.

Joining Beck on the tour will be Vinnie Colaiuta on drums, Rhonda Smith on bass, and cellist Vanessa Freebairn-Smith.

See the full list of tourdates below:

Sunday 17th May Glasgow SEC Armadillo
Monday 18th May Birmingham Symphony Hall
Tuesday 19th May York Barbican
Thursday 21st May Gateshead Sage
Friday 22nd May Manchester O2 Apollo
Saturday 23rd May Sheffield City Hall
Monday 25th May Cardiff St David’s Hall
Tuesday 26th May London Royal Albert Hall
Wednesday 27th May London Royal Albert Hall

Tickets go on sale on Friday (February 14) at 10am from here.

A press release adds that “Jeff is working on new music due in 2020 to be released worldwide by Rhino / Warner Records”.

Hear the new single from Rolling Blackouts, Coastal Fever

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Rolling Blackouts, Coastal Fever have today released a new single called “Cars In Space”.

Watch the video, which was co-directed by fellow Australian artist Julia Jacklin, below:

No details of a follow-up to 2018’s acclaimed debut album Hope Downs have been revealed as yet, but a press release states: “Watch this space – 2020 is gearing up to be a big one for Rolling Blackouts CF.”

Check out the band’s current touring itinerary below:

Feb 14th | Perth, AU – Perth Festival
Mar 1st | Brisbane, AU – Nine Lives Festival
Mar 14th | Sydney, AU – Sydney Opera House*
Mar 15th | Sydney, AU – Sydney Opera House*
Mar 18th | Melbourne, AU – Brunswick Music Festival
Mar 28th | Bambra, AU – Meadow Festival
May 22nd | Madrid, ES – Tomavista Festival
May 23rd | London, UK – All Points East Festival
May 24th | Warrington, UK – Neighbourhood Festival
May 26th | Edinburgh, UK – The Liquid Room

May 30th | Neustrelitz, DE – Immergut
June 1st | Barcelona, ES – Primavera Sound
June 10th | Bergen, NO – Bergenfest
June 12th | Porto, PT – NOS Primavera Sound
June 13th | Hilvarenbeek, NL – Best Kept Secret

The Strokes announce new album, The New Abnormal

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The Strokes’ new album will be released on April 10, according to lead singer Julian Casablancas.

He made the announcement from the stage at a Bernie Sanders concert rally in Durham, New Hampshire, after the band had debuted a couple more songs from the album. It’s believed to be called The New Abnormal, after The Strokes tweeted artwork bearing that name last week.

Watch The Strokes play new song “Bad Decisions” below:

UPDATE: The Strokes have now confirmed the April 10 release of The New Abnormal – which was produced by Rick Rubin – and shared an official video for “At The Door”. Watch below:

They have also announced a short tour for later this month, including a date at London’s Roundhouse on February 19:

14 February Berlin, DE Columbiahalle
18 February Paris, FR Olympia
19 February London, UK The Roundhouse
24 February Belfast, UK Waterfront Hall
5 March Vancouver, BC Rogers Arena
9 March Seattle, WA WaMu Theater
14 March Los Angeles, CA The Forum

Tickets go on general sale at 1pm on Friday (February 14) but you can gain access to a pre-sale by pre-ordering The New Abnormal here.

The 3rd Uncut New Music Playlist of 2020

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This week sees the welcome return of two Americana heavyweights in the form of Lucinda Williams and Jason Isbell, with the first fruits of their forthcoming albums due April 24 and May 15 respectively. Also back with solid new material are Ethio-jazz trailblazer Hailu Mergia, psych-funk collective The Heliocentrics, Japanese folk-rocker Masaki Batoh and four-fifths of Super Furry Animals as Das Koolies. You might have enjoyed James Elkington’s playing on Joan Shelley’s recent album; if so, you’ll surely enjoy his own stuff, too. And look out for intriguing new names Mapache, Mentrix and Village Of The Sun (AKA Basement Jaxx’s Simon Ratcliffe on a new jazz tip)…

JASON ISBELL AND THE 400 UNIT
“Be Afraid”
(Southeastern Records)

LUCINDA WILLIAMS
“Man Without A Soul”
(Highway 20)

MAPACHE
“Life On Fire”
(Yep Roc)

DAS KOOLIES
“100%”
(Strangetown)

CHRISTINE & THE QUEENS
“People, I’ve Been Sad”
(Because Music)

KING KRULE
“Alone, Omen 3”
(XL)

MASAKI BATOH
“In The Hour Of Serpent”
(Drag City)

JAMES ELKINGTON
“Nowhere Time”
(Paradise Of Bachelors)

HAILU MERGIA
“Abichu Nega Nega”
(Awesome Tapes From Africa)

VILLAGE OF THE SUN
“Village of the Sun feat. Binker and Moses”
(Gearbox)

THE HELIOCENTRICS
“Burning Wooden Ship”
(Madlib Invazion)

MENTRIX
“Walk”
(House Of Strength)

SIGN LIBRA
“Sea Of Nectar”
(RVNG Intl)

METAMAN
“Irina (feat. Lena Platonos)”
(Won Ton)

JON HOPKINS
“Scene Suspended”
(Domino)

Parasite

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Over the course of seven films and nearly 20 years, South Korea’s Bong Joon-ho has quietly established himself as one of the world’s most original directors, effortlessly switching genres as diverse as true crime, monster horror, family melodrama and dystopian sci-fi. But in his latest, he really takes things up a notch, with a hugely enjoyable thriller that not only won the Palme D’Or at Cannes last year but also looks set to break out from the foreign-language ghetto at the Oscars, the first film to do so since Pedro Almodóvar’s Talk To Her in 2003.

Parasite unfolds in incremental stages. Initially, the focus is Kim Ki-woo (Choi Woo-shik), a young man who lives in a dank basement flat in Seoul with his sister and parents. The Kim family are tight but unlucky – even a job making pizza boxes ends in disaster – so when Ki-woo hears of a job opening as tutor to the daughter of the wealthy Park family, he jumps as it. Ki-woo’s sister helps him forge the necessary documents, he gets the job, and the film immediately gets underway.

Much has been made of the film’s political targets, and Parasite has plenty to say about the class wars of today: the Parks’ huge, modernist home is indecently palatial compared with the Kim’s underground hovel. But director Bong is also working on other levels, not only making all of its characters relatable – the Parks are really quite sweet people, if a little lacking in self-awareness – but telling his story with a healthy dose of uproarious slapstick. The inevitable English-language remake will surely be mooted, but it’s hard to see how the whole of this anarchic black comedy, in all its studiedly messy glory, can be replicated in Hollywood.

The Who – Deluxe Ultimate Music Guide

Who’s next? Well, yes they are. Ahead of their UK arena tour, our latest deluxe edition Ultimate Music Guide focuses on the music of The Who – now fully updated to account for their late-career resurgence with remarkable new album, Who. Featuring all the albums reviewed in depth, with a riot of destructive archive features too.

You can find it in shops from February 13, or order online by clicking here

Solange and Lee ‘Scratch’ Perry for Grace Jones’ Meltdown

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Grace Jones has unveiled her Meltdown festival lineup, taking place at London’s Southbank Centre on June 12-21.

Highlights include Solange, Peaches, Jimmy Cliff, Baaba Maal, Oumou Sangaré and Lee Scratch Perry with Adrian Sherwood.

Other confirmed performers are Meshell Ndegeocello, Lee Fields & The Expressions, Ladysmith Black Mambazo, Skunk Anansie and Paraorchestra Presents: The Love Unlimited Synth Orchestra – the world’s first integrated ensemble of professional disabled and non-disabled musicians celebrating the music of Barry White, with special guests.

Grace Jones herself will close the festival with “an extraordinary new show unlike any other she has performed before” in the Royal Festival Hall on June 21.

“As everyone knows, I’m a collector, and I collect people, amongst other things,” says Jones. “This is what I have done for Meltdown. These wonderful artists I have chosen represent something unique to me personally and to my career. From Baaba Maal to Skunk Anansie to Solange. Each one of these artists has a little bit of me in them, and now I am proud to present them all to you. By the time I close the festival with my performance on the 21st of June, everyone who has attended any one of these shows will have had an incredible live concert experience, given to them with love from me, Grace Jones.”

Full details of all the concerts can be found here. Tickets will go on sale to Southbank Centre members at 10am on Wednesday (February 12) and to the general public at 10am on Friday (14 February).

Elton John wins Best Song Oscar for “(I’m Gonna) Love Me Again”

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At last night’s Academy Awards ceremony in Los Angeles, Elton John took home the Oscar for Best Original Song for the second time in his career.

Back in 1995 he won the award for his Lion King song “Can You Feel The Love Tonight”. Now he’s repeated the feat with “(I’m Gonna) Love Me Again” from Rocketman. Watch Elton perform the song at the ceremony below:

“Wow, this doesn’t suck,” said Bernie Taupin, when collecting the award alongside his songwriting partner. “Being here with this guy, I don’t have words for it, this is justification for 53 years of just hammering it out and doing what we do.”

Elton added: “Thank you to Bernie, who has been the constant thing in my life when I was screwed up, when I was normal.” Watch more from Elton and Bernie below:

Other performers at the Oscars included Randy Newman playing his nominated song “I Can’t Let You Throw Yourself Away”, from Toy Story 4; and Billie Eilish covering The Beatles’ “Yesterday” for the in memoriam section. Watch footage below:

Supergrass – The Strange Ones: 1994-2008

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In late 1994, soon after signing to Parlophone, Supergrass attended an EMI event in Brighton. At the corporate soirée, fellow Oxford boys Radiohead introduced the group to Cliff Richard, telling the former Mr Webb that the young group had a single out and that the singer was only 18; Cliff explained that he’d released his first single when he was aged just 17. In Melody Maker a year later, Gaz Coombes recalled his response to the soon-to-be-Sir: “Yeah, but I bet it wasn’t about snorting coke.”

Apocryphal or not, the story tells us a lot about Supergrass: that they had youth on their side, copious charm and cutting wit, and everything in place to enable them to be a genuine sensation. They were that too, for a time, when debut album I Should Coco hit No 1 in summer 1995, their “Alright”/“Time” single reached No 2 and Steven Spielberg wanted to turn them into the next Monkees.

Yet with fame, as it goes, what you get is no tomorrow, and so Supergrass have been saddled with their youth, their wit, their cheeky Britpop charms ever since – at least in the eyes of the wider public. This new voluminous boxset, charting their career from 1994 to their last new music in 2008, provides an excellent way for the band to set the story straight, if it’s needed; to shine a light on their impressive evolution, and the sheer variety of musical moods and styles they mastered over their 14 years as a functioning band. Inside the box are all six of their studio albums on picture-disc vinyl and CD, four CDs of unheard live material and a further three CDs of B-sides, rarities, unearthed demos and ‘oddities’ (also included: a book, posters, badges and a seven-inch of new remixes of “Caught By The Fuzz” and “Richard III”).

Of course, even on their debut album, Supergrass were doing things differently to many of their peers in the mid-’90s. I Should Coco remains a brave and diverse album, beginning with a clutch of raging post-punk hurricanes, such as “I’d Like To Know” and “Mansize Rooster”, and gradually transitioning into a more contemplative second half, including the Kevin Ayers-like drift of the six-minute “Sofa (Of My Lethargy)”. Even louder numbers such as “Lose It” 
have hidden depths, its guitar solo ending in a bar of clattering drums and feedback before its fantastic chorus seems to meld a sour jazz harmony into its spiky rush; “Caught By The Fuzz”, too, for all its velocity, is built around a fairly sophisticated chord sequence involving a prominent major-seventh.

1997’s In It For The Money is traditionally, and deservedly, a fan and band favourite, with the group’s outlook darkening on “Richard III”, the bizarrely structured title track and hallucinatory ballad “It’s Not Me”. The band were experimenting more too, with “Cheapskate” influenced by funk, “Hollow Little Reign” a jazzy piano ballad and the closing “Sometimes I Make You Sad” ending the record on a trippy note, its mouth percussion, see-sawing fairground organ and sped-up guitar solo evoking Pepper-era Beatles.

Their 1999 self-titled LP widened the gap between the two poles, with “Pumping On Your Stereo” and “Mary” sniggering pop and the likes of “Faraway”, “Mama & Papa” and “Moving” more measured and mature; the latter, experimental in form and rhythm, has even become one of their best-loved songs, and demonstrated a growing influence in their music: David Bowie. The Dame’s impact was even more potent on 2002’s underrated Life On Other Planets, which embraced glam on the bovver-booted Bolan boogie of “Za”, “Grace” and “See The Light”. Meanwhile, “Never Done Nothing Like That Before” and “Rush Hour Soul” were more ferocious than anything since I Should Coco, and the closing brace of “Prophet 15” and “Run” were swathed in drifts of electronics, Mellotron and lush Beach Boys harmonies.

Supergrass switched gear on the hushed, folky Road To Rouen (2005) and then again for 2008’s Diamond Hoo Ha, a raucous set faintly smelling of Bowie’s Berlin Trilogy. There are some great songs on these LPs, especially the orchestral frenzy of “Roxy” on Road… and the enigmatic, disco-inflected “Butterfly” on its follow-up, but slipping chart positions and intra-band personal issues soon did for the band until their current 
live-only reunion in 2019.

Of course, the real incentives for splashing out on The Strange Ones lie in the extra tracks; there are stunning B-sides that rank among the group’s most magical songs, such as “Wait For The Sun”, “Odd?” and “We Still Need More (Than Anyone Can Give)”, and illuminating rarities: wild full-band demos, a John Peel piss-take, assorted studio outtakes, aborted singles, a cover of The Police’s “Next To You” and experiments deemed unsuitable for their albums. You can even hear Gaz Coombes and bassist/vocalist Mick Quinn deconstructing “Sun Hits The Sky” during a Belgian radio session. Perhaps the most important track is a monitor mix of “Out Of The Blue”, which was planned as a single but ultimately never released; it’s possible to imagine its swinging bounce proving as popular as “Alright”.

The clear highlights of the box, however, are on the four CDs of unreleased live material, where Supergrass are revealed to be some hyper mix of The Who, The Jam and Blue Cheer – at times, such as their 1996 gig at Dublin’s RDS Arena, they’re perhaps better than any of those. That Blur support slot is a manic set, with the quartet powering through 14 songs in 50 minutes. Drummer Danny Goffey lifts the tempos like a more driving Keith Moon, spraying out ridiculous fills every few bars, Mick Quinn fiddles like Paul McCartney and Jean-Jacques Burnel rolled into one, while keyboardist Rob Coombes keeps the whole glorious onslaught tethered to Earth; Gaz Coombes’ guitar breaks on “Lenny” or “I’d Like To Know” are truly Hendrix-esque, permanently on that thrilling edge of feedback. They bring out a horn section to augment “Alright” and a closing “Going Out”, but they barely register beneath the sea of noise the quartet produce. Their sets at 1997’s Glastonbury, 1998’s Reading and 2000’s T In The Park are nearly as unhinged and almost as exciting.

The live discs showcase the ’Grass’s other side too, with a bunch of stripped-down acoustic performances from the Road To Rouen era. 
“Roxy” at Ronnie Scott’s, just Mellotron flutes, Rhodes piano and vintage rhythm box, is about as far from “Mansize Rooster” as one could get, and “Tales Of Endurance (Parts 4, 5 & 6)”, from the same show, suggests a world where Pink Floyd recruited Ennio Morricone for “Atom Heart Mother” instead of Ron Geesin.

Whether the group can recapture their two live extremes at their 2020 shows remains to be seen, but their chops, charm and sense of experimentation are still intact, and still much underrated, so it’s a good bet. While casual listeners might continue to associate Supergrass with Chopper bikes, adolescent abandon and teeth “nice and clean”, this fantastic boxset instead reveals the full story of one of the best British bands of the last 30 years. Strange in their worlds, for sure, but much more than just alright.

Sonic Youth’s Lee Ranaldo: “We kept our lives sane so we could make the music radical”

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The current issue of Uncut – in shops now or available to buy online by clicking here – features an extensive interview with Sonic Youth’s Lee Ranaldo about three watershed eras in his beloved former band’s long and influential career – their early breakthrough, grunge’s heyday and their emotionally charged swansong.

In this extract, Ranaldo relives Sonic Youth’s formative years as they emerged from New York’s no wave scene.

“No wave was the most radical thing happening at that point. Groups like DNA weren’t trained in playing instruments at all. So it resulted in a kind of primitivism, in some ways an update on the earliest rock’n’roll. You didn’t need skill as much as have an idea for something to do. Sonic Youth, throughout our whole career, followed that philosophy. We forged our own technique to suit our own purposes. Anything was possible: beating the guitars with drumsticks, or Glenn [Branca] deciding to tune his guitars like a choir. It was very freeing.

“We had cheap guitars, which wouldn’t have stayed in tune, so we used them in other ways, partly inspired by the tunings people like Lou Reed and Glenn used. I came up learning alternate, open tunings from blues and folk players from Rev Gary Davis through to Joni Mitchell, David Crosby and Neil Young or Keith Richards. So a lot of that stuff seemed natural to us. We had no desire to play ‘normally’ anyway; we were free to use the instruments as noisemakers. Everybody I knew was experimenting. Nobody was trying to be in a normal band at that point. We only established some consistent guitar tunings when we made Bad Moon Rising. By then, we had solidified a working method, instead of just saying, ‘OK, we’ve got guitars… now what?

“I lived in downtown Manhattan then, in Tribeca – an industrial and artist’s zone that was desolate more than dangerous at night, which suited my temperament. Thurston and Kim lived on the Lower East Side on Eldridge Street. By the Bad Moon Rising period, Bob Bert, who drummed with us, lived across the river in Hoboken. We all worked day jobs. I worked for a sculptor in Chelsea. Kim worked in Todd’s Copy Shop. Thurston sold an ice-cream sandwich called the Chipwich out of a cart in Midtown. It wasn’t until after the first American tour for Bad Moon Rising that we were able to focus on music, even though we were still living ultra-modestly.

“One thing I always remember from the early days is that although we lived hand to mouth, we were essentially middle-class kids. We had a reverence for certain aspects of that middle-class lifestyle. Around the time of Bad Moon Rising, we used to rehearse in Mike Gira’s place on East 6th Street, which was a windowless bunker in the fucking scuzziest, most dangerous part of Lower Manhattan. That was the heart of junkie-land. It was scary after dark.

“The city was dirty and broken down, with abandoned buildings everywhere. There were people living in shitty situations, spending money on drugs instead of food. We were never deeply involved in that. At a certain point, I realised that people around us seemed to be sinking deeper into an insane lifestyle and the music was not keeping pace with that. But we always flipped that scenario. When we were home, we wanted something in the refrigerator and a clean place to live. We kept our lives sane so we could make the music as radical as possible.”

You can read much more from Lee Ranaldo in the latest issue of Uncut, out now with Kate Bush on the cover.

Robert Plant joins Wilco and The Waterboys at Black Deer Festival

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Robert Plant will play at this year’s Black Deer Festival.

Plant’s new band, Saving Grace, is the final headliner to be confirmed for the festival; previously-announced headliners are Wilco and The Waterboys.

Saving Grace is billed as a co-operative featuring Plant alongside Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone & acoustic guitars) and Matt Worley (banjo, acoustic and baritone guitars and cuatro). Saving Grace played UK shows last year, including three with Fairport Convention in February 2019.

The line-up also includes Courtney Marie Andrews, The Felice Brothers, Lukas Nelson & Promise of the Real, Shovels & Rope, Imelda May, as well as Shooter Jennings and Sam Duckworth / Get Cape. Wear Cape. Fly.

“This looks like a great bill,” says Plant. “I’ve worked alongside most of these people in recent times… over here or over there… there’s power and beauty. Looking forward to it…”

Black Deer Festival takes place on June 19 – 21 at Eridge Park, Kent. You can find more information by clicking here.

The Rolling Stones announce first tour dates for 2020

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The Rolling Stones have announced their first shows of 2020.

The band’s No Filter tour will return to North America for a 15 city run in 2020.

The dates kick off on May 8 at SDCCU Stadium in San Diego and will bring The Stones back to Vancouver, Austin, Louisville, Cleveland, St. Louis, Charlotte and Tampa. The No Filter tour will also make stops in Minneapolis, Nashville, Dallas, Buffalo, Detroit, Pittsburgh and Atlanta.

Tickets for these dates will go on sale Friday, February 14 at 10am local time. For ticketing information, please visit www.rollingstones.com

The tour dates are:

May 8, 2020
San Diego, CA: SDCCU Stadium

May 12, 2020
Vancouver, BC: BC Place

May 16, 2020
Minneapolis, MN: U.S. Bank Stadium

May 20, 2020
Nashville, TN: Nissan Stadium

May 24, 2020
Austin, TX: Circuit of The Americas

May 29, 2020
Dallas, TX: Cotton Bowl Stadium

June 6, 2020
Buffalo, NY: New Era Field

June 10, 2020
Detroit, MI: Ford Field

June 14, 2020
Louisville, KY: Cardinal Stadium

June 19, 2020
Cleveland, OH: FirstEnergy Stadium

June 23, 2020
Pittsburgh, PA: Heinz Field

June 27, 2020
St. Louis, MO: The Dome at America’s Center

July 1, 2020
Charlotte, NC: Bank of America Stadium

July 5, 2020
Tampa, FL: Raymond James Stadium

July 9, 2020
Atlanta, GA: Mercedes-Benz Stadium

Sufjan Stevens has made an album with his stepdad Lowell Brams

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Sufjan Stevens’ latest project is a collaborative album with his stepfather Lowell Brams, co-founder of the Asthmatic Kitty label and subject of Stevens’ 2015 album Carrie & Lowell.

Brams, who has been recording electronic and experimental music since 1986, previously collaborated with Stevens on 2008’s Music For Insomnia.

Aporia will be released on March 27. The “new-age inspired” album features collaborators including Thomas Bartlett (Doveman), DM Stith, Nick Berry (Dots Will Echo), John Ringhofer (Half-Handed Cloud) drummer James McAlister, keyboardist and trombonist Steve Moore (Sunn O)))), guitarist Yuuki Matthews (The Shins) and vocalist Cat Martino.

Listen to a track entitled “The Unlimited” below:

You can pre-order the album here and stream a playlist of tracks that inspired the album, curated by Stevens, here.

Savages’ Jehnny Beth announces solo album, To Love Is To Live

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Savages frontwoman Jehnny Beth has announced that her debut solo album, To Love Is To Live, will be released by Caroline Records on May 8.

It was recorded in Los Angeles, London and Paris and produced by Flood, Atticus Ross and longtime collaborator Johnny Hostile. The album also features guest appearances from The xx’s Romy Madley Croft, Idles’ Joe Talbot and actor Cillian Murphy.

Hear new single “Flower” below:

Check out Jehnny Beth’s 2020 touring schedule below:

3/8/20 London, UK @ BBC 6 Music Festival
5/29/20 London, UK @ All Points East Festival
5/31/20 Kværndrup, Denmark @ Heartland Festival
6/2/20 Hamburg, Germany @ Mojo
6/4/20 Paris, France @ La Gaîté Lyrique
6/5/20 Barcelona, Spain @ Primavera Festival
6/9/20 Milan, Italy @ Magnolia
6/10/20 Marina Di Ravena, Italy @ Beaches Brew Festival
6/12/20 Porto, Portugal @ Primavera Festival
6/30/20 Berlin, Germany @ Säälchen
7/3/20 Ewjik, Netherlands @ Down the Rabbit Hole Festival
7/4/20 Arras, France @ Main Square Festival 2020
7/15/20 Minneapolis, MN @ The Varsity Theater
7/18/20 Detroit, MI @ St. Andrews Hall
7/19/20 Toronto, ON @ Danforth Music Hall
7/21/20 Montreal, QC @ Fairmount Theatre
7/22/20 Boston, MA @ Brighton Music Hall
7/23/20 Philadelphia, PA @ Theatre of the Living Arts
7/25/20 New York, NY @ Webster Hall
7/26/20 Washington, DC @ 9:30 Club

Brian Wilson urges fans to boycott The Beach Boys

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Tomorrow (Feburary 5), Mike Love’s current touring line-up of The Beach Boys are due to play the Safari Club International Convention in Reno, Nevada – a gathering of the world’s biggest trophy hunting companies at which Donald Trump Jr is the keynote speaker.

A petition is currently circulating on Change.org which calls on fans to “stop buying or downloading all Beach Boys music, going to Beach Boys concerts, and purchasing any Beach Boys merchandise until the Beach Boys withdraw from the SCI Convention and publicly state their opposition to this sick ‘sport’ of killing animals for ‘fun’.”

Yesterday, Brian Wilson tweeted his support for the petition, writing: “This organization supports trophy hunting, which Both Al [Jardine] and I are emphatically opposed to. There’s nothing we can do personally to stop the show, so please join us in signing the petition.”

According to The Guardian, the the Safari Club International Convention “sells guns and other hunting equipment, features seminars including Designing and Building Your Trophy Room and Managing Hunting Stress – Make Accurate Shots No Matter the Intensity, and auctions off hunting trips in South Africa, Texas, New Zealand and more.”

Mike Love has so far declined to pull out of the event. “We look forward to a night of great music in Reno and, as always, support freedom of thought and expression as a fundamental tenet of our rights as Americans,” he wrote in a statement.

Love is a prominent supporter of the Trump family, telling Uncut in 2017: “Donald Trump has never been anything but kind to us. We have known him for many a year. We’ve performed at some of his venues at fundraisers and so on.”

Hear Nadine Shah’s new single, “Ladies For Babies (Goats For Love)”

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Nadine Shah has announced that her new album Kitchen Sink will be released by Infectious on June 5.

Watch a video for the first single “Ladies For Babies (Goats For Love)” below:

“My brother was making a comment on sexism when he was younger and made a painting of a man embracing a goat with the phrase ‘ladies for babies, goats for love’,” Shah explains. “It always stuck with me, I guess cause it sounded daft but really because even back then I knew its true meaning and intent.

“I was also thinking about a lot of the songs I would have been listening to at the time, songs I sang along to innocently without question of the meaning. ‘Ladies For Babies’ is a direct response to ‘All That She Wants’ by Ace Of Base. I reversed the gender and I poke fun at a husband who expects nothing more from me, as a wife, than to carry his child and perform the role of the obeying subservient trophy wife. Only this time the mistress is a farmyard animal. A lot of my album explores subjects of sexism and tradition. It’s not all about bestiality, I promise.”

Pre-order Kitchen Sink here and peruse the tracklisting below:

1. Club Cougar
2. Ladies For Babies (Goats For Love)
3. Buckfast
4. Dillydally
5. Trad
6. Kitchen Sink
7. Kite
8. Ukrainian Wine
9. Wasps Nest
10. Walk
11. Prayer Mat

Rustin Man announces new album, Clockdust

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Following a 17-year gap between his first two albums, Rustin Man – AKA former Talk Talk bassist Paul Webb – has now announced his second album in two years.

Clockdust, the follow-up to 2019’s Drift Code, will be released by Domino on March 20. Watch a video for lead track “Jackie’s Room” now:

The roots of Clockdust can be found in the same extended sessions that birthed Drift Code. “Early on I realised I had two albums worth of material,” Webb explains. “The first tunes I wrote were electric guitar based, with long arrangements that built up in layers to something sonically quite dense. These became the bulk of Drift Code. As a reaction, I wrote a batch of songs that were tighter in their structure but had more feeling of space. These make up the bulk of Clockdust.

“I think of the album as containing stories from people who’ve reached their present situation through many years of experiences,” he adds. You can pre-order Clockdust here.

Rustin Man has also announced his first live shows since 2003, at which he’ll be backed by members of Belgian band Dez Mona. Dates below:

Thu 12 Nov – Het Zonnehuis, Amsterdam
Fri 13 Nov – 4AD Presenteert, Diksmuide
Sat 14 Nov – Union Chapel, London

Tickets go on sale at 10am on Friday (February 7).