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Stevie Wonder And John Lennon Give Peace A Chance

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Stevie Wonder And John Lennon Give Peace A Chance

Every day, we bring you the best thing we've seen on YouTube - a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows. Today: Watch a Stevie Wonder stage invasion-ly good live performance of his Motown hit “Superstition” and an all-star cover version of John Lennon’s “Give Peace A Chance.” Wonder is joined onstage by John Lennon, Yoko Ono & The Plastic Ono Band, as well as a host of other singers and musicians. Check out the hard hat wearing party people on stage – they certainly know how to have a good time! Check out the Wonder jamboree by clicking here

Every day, we bring you the best thing we’ve seen on YouTube – a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows.

Today: Watch a Stevie Wonder stage invasion-ly good live performance of his Motown hit “Superstition” and an all-star cover version of John Lennon’s “Give Peace A Chance.”

Wonder is joined onstage by John Lennon, Yoko Ono & The Plastic Ono Band, as well as a host of other singers and musicians.

Check out the hard hat wearing party people on stage – they certainly know how to have a good time!

Check out the Wonder jamboree by clicking here

LCD Soundsystem – Sound Of Silver

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LCD Soundsystem – Sound Of Silver

For the past few years, James Murphy has been making dance music for people who thought they were a bit too old to like that sort of thing, and hedonistic pop for chinstroking rock fans with very good record collections. On this, his second tremendous album as LCD Soundsystem, there is a telling moment nearly three minutes into a song called “All My Friends”. “All My Friends” sounds roughly how the early New Order might have, had Steve Reich joined instead of Gillian Gilbert. Murphy is singing affectionately about hanging out with friends and staying up late, while simultaneously being aware that, at 36, he is neither physically nor spiritually capable of losing the plot very often. “We set the controls for the heart of the sun,” he notes, ever the wistful vinyl nerd, “one of the ways that we show our age.” The reference may be baffling to some of Murphy’s younger fans: after all, this is the man who, as half of New York’s DFA production team, kickstarted a discopunk revival that has reached an apotheosis of sorts with the Klaxons and nu-rave. But to an older – and perhaps more anal – generation, LCD Soundsystem’s records effectively legitimise their enduring obsession with music. Sound Of Silver is partly about this undying fannishness, and partly about being on the road for three years (typical of Murphy’s self-aware wit, its working title was Oh Vanity, Thy Name Is Sophomore Effort). It is also about the strangeness and freedom that doing these things in your mid-thirties brings. On the title track, Murphy adopts a Phil Oakey baritone over skittering, luxuriant techno, and pronounces, “Sound of silver makes you want to act like a teenager, until you remember the feelings of a real-life emotional teenager. Then you think again.” Rarely has anyone making such exciting and fashionable music been so unapologetic about being mature, too. At times, in fact, the suspicion arises that LCD Soundsystem have been constructed entirely to titillate music journalists of a certain age. Sound Of Silver makes you feel very satisfied with yourself as you parse its content: from the Berlin Bowie/Kraftwerk/Tom Tom Club hybrid of the opening “Get Innocuous”, through to the “Rock’n’Roll Suicide” coda of “New York I Love You”. But Murphy’s talent is to proudly flaunt his influences, and to mix them up with belligerence, an exhilarating grasp of rock and dance dynamics, and a powerfully snarky sense of humour. Sat on his tourbus with a persistent blocked nose, Murphy longs for his friends and his hometown of New York. Often, this translates into trenchant, guyish satire: on “North American Scum” (some Neu!, some Fall, some Liquid Liquid, some Talking Heads), he combats the assumption that all of his countrymen are Bush-loving dolts. New York, he explains, is the only place in the States where the Christians are kept off the streets. Europe, on the other hand, is “where the buildings are old and you might have lots of mimes.” The moral, though Murphy is not an obvious moral arbiter, is that stereotyping is a mug’s game. Since the release of LCD Soundsystem’s debut single in 2002, a list of rock snob touchstones called “Losing My Edge”, he has been stereotyped himself - as some kind of grouchy paragon of cool. Sound Of Silver, however, reveals Murphy to be something much better: a complex and self-deprecating character who is confident enough to act his age, betray his influences and take the piss out of everyone who has ever liked his records. Youth is wasted on the young; don’t let this exceptional album be wasted on the hip. JOHN MULVEY

For the past few years, James Murphy has been making dance music for people who thought they were a bit too old to like that sort of thing, and hedonistic pop for chinstroking rock fans with very good record collections. On this, his second tremendous album as LCD Soundsystem, there is a telling moment nearly three minutes into a song called “All My Friends”.

“All My Friends” sounds roughly how the early New Order might have, had Steve Reich joined instead of Gillian Gilbert. Murphy is singing affectionately about hanging out with friends and staying up late, while simultaneously being aware that, at 36, he is neither physically nor spiritually capable of losing the plot very often. “We set the controls for the heart of the sun,” he notes, ever the wistful vinyl nerd, “one of the ways that we show our age.”

The reference may be baffling to some of Murphy’s younger fans: after all, this is the man who, as half of New York’s DFA production team, kickstarted a discopunk revival that has reached an apotheosis of sorts with the Klaxons and nu-rave. But to an older – and perhaps more anal – generation, LCD Soundsystem’s records effectively legitimise their enduring obsession with music. Sound Of Silver is partly about this undying fannishness, and partly about being on the road for three years (typical of Murphy’s self-aware wit, its working title was Oh Vanity, Thy Name Is Sophomore Effort). It is also about the strangeness and freedom that doing these things in your mid-thirties brings. On the title track, Murphy adopts a Phil Oakey baritone over skittering, luxuriant techno, and pronounces, “Sound of silver makes you want to act like a teenager, until you remember the feelings of a real-life emotional teenager. Then you think again.” Rarely has anyone making such exciting and fashionable music been so unapologetic about being mature, too.

At times, in fact, the suspicion arises that LCD Soundsystem have been constructed entirely to titillate music journalists of a certain age. Sound Of Silver makes you feel very satisfied with yourself as you parse its content: from the Berlin Bowie/Kraftwerk/Tom Tom Club hybrid of the opening “Get Innocuous”, through to the “Rock’n’Roll Suicide” coda of “New York I Love You”. But Murphy’s talent is to proudly flaunt his influences, and to mix them up with belligerence, an exhilarating grasp of rock and dance dynamics, and a powerfully snarky sense of humour.

Sat on his tourbus with a persistent blocked nose, Murphy longs for his friends and his hometown of New York. Often, this translates into trenchant, guyish satire: on “North American Scum” (some Neu!, some Fall, some Liquid Liquid, some Talking Heads), he combats the assumption that all of his countrymen are Bush-loving dolts. New York, he explains, is the only place in the States where the Christians are kept off the streets. Europe, on the other hand, is “where the buildings are old and you might have lots of mimes.”

The moral, though Murphy is not an obvious moral arbiter, is that stereotyping is a mug’s game. Since the release of LCD Soundsystem’s debut single in 2002, a list of rock snob touchstones called “Losing My Edge”, he has been stereotyped himself – as some kind of grouchy paragon of cool. Sound Of Silver, however, reveals Murphy to be something much better: a complex and self-deprecating character who is confident enough to act his age, betray his influences and take the piss out of everyone who has ever liked his records. Youth is wasted on the young; don’t let this exceptional album be wasted on the hip.

JOHN MULVEY

Ry Cooder – My Name Is Buddy

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Ry Cooder – My Name Is Buddy

After spending most of the past 30 years working with a global cast of musicians – Mexican accordionists, Malian griots, Cuban soneros, Hawaiian slack key guitarists, Indian veena players – Ry Cooder’s return to his native LA with 2005’s Chavez Ravine came as something as a surprise. But even this operatic journey through the city was a cunningly disguised ‘world music’ album – using various antique Latin genres to document the Mexican barrios of the 1940s. Now My Name Is Buddy sees the master guitarist return to the vintage US roots music that he seemed to have jettisoned after 1979’s Bop Till You Drop. At the time he dismissed the “sterile archivism” of his 1977 ragtime album Jazz and, to avoid sounding like a worthy ethnomusicologist, Cooder uses his source materials to tell a compelling story. The ‘Buddy’ of the album title comes from a picture of a ginger cat, around whom Cooder developed a backstory. Buddy was not just red-haired, figured Cooder, but politically red – a hobo, a roustabout, a militant union activist – and his picaresque rambles are a journey through the disappearing world of US organised labour. Accompanied by a beautifully illustrated CD booklet, Buddy is joined by a comic-book cast – he befriends a politicised mouse called Lefty (“little but big minded – and he can read!”), and a blind black preacher called the Revd Tom Toad, and fights an evil pig called J Edgar (“Oh J Edgar, just look what you’ve done/you ate up all the cherry pie that was for everyone”). Musically, the guests (Van Dyke Parks, jazz pianist Jacky Terrason, avant trumpeter Jon Hassell, as well as Cooder regulars Jim Keltner, Flaco Jimenez and Ry’s son Joachim) take us through Southern gospel, hillbilly bluegrass and lounge jazz, while the godheads of leftist US folk, Mike and Pete Seeger, provide ideological ballast (and some mean banjo). As a homage to a collectivist America that was all but extinguished by the likes of J Edgar Hoover and Joseph McCarthy, it’s frequently wistful, sad and nostalgic. Yet Cooder’s eccentric storytelling style and his prankish, Sufjan Stevens-ish take on Americana also sounds oddly contemporary. JOHN LEWIS

After spending most of the past 30 years working with a global cast of musicians – Mexican accordionists, Malian griots, Cuban soneros, Hawaiian slack key guitarists, Indian veena players – Ry Cooder’s return to his native LA with 2005’s Chavez Ravine came as something as a surprise. But even this operatic journey through the city was a cunningly disguised ‘world music’ album – using various antique Latin genres to document the Mexican barrios of the 1940s.

Now My Name Is Buddy sees the master guitarist return to the vintage US roots music that he seemed to have jettisoned after 1979’s Bop Till You Drop. At the time he dismissed the “sterile archivism” of his 1977 ragtime album Jazz and, to avoid sounding like a worthy ethnomusicologist, Cooder uses his source materials to tell a compelling story.

The ‘Buddy’ of the album title comes from a picture of a ginger cat, around whom Cooder developed a backstory. Buddy was not just red-haired, figured Cooder, but politically red – a hobo, a roustabout, a militant union activist – and his picaresque rambles are a journey through the disappearing world of US organised labour. Accompanied by a beautifully illustrated CD booklet, Buddy is joined by a comic-book cast – he befriends a politicised mouse called Lefty (“little but big minded – and he can read!”), and a blind black preacher called the Revd Tom Toad, and fights an evil pig called J Edgar (“Oh J Edgar, just look what you’ve done/you ate up all the cherry pie that was for everyone”).

Musically, the guests (Van Dyke Parks, jazz pianist Jacky Terrason, avant trumpeter Jon Hassell, as well as Cooder regulars Jim Keltner, Flaco Jimenez and Ry’s son Joachim) take us through Southern gospel, hillbilly bluegrass and lounge jazz, while the godheads of leftist US folk, Mike and Pete Seeger, provide ideological ballast (and some mean banjo). As a homage to a collectivist America that was all but extinguished by the likes of J Edgar Hoover and Joseph McCarthy, it’s frequently wistful, sad and nostalgic. Yet Cooder’s eccentric storytelling style and his prankish, Sufjan Stevens-ish take on Americana also sounds oddly contemporary.

JOHN LEWIS

Bryan Ferry – Dylanesque

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Bryan Ferry – Dylanesque

Bryan Ferry sings the familiar opening lines of “Just Like Tom Thumb’s Blues”, which introduces his album of Dylan covers, with close-miked clarity over a four-square rock groove. By the time he arrives at Rue Morgue Avenue, the cunning stylist has revealed his modus operandi: Ferry’s muscular touring band simply steamrollers the listener’s sense of the song in its original form, enabling the singer to approach the material on a level playing field, free of expectations and associations. On Dylanesque, Ferry isn’t trying to compete with, or be like, Dylan. Rather than reinvent or replicate, he simply looks under the bonnet of each selection to see what makes it go and then takes it for a spin. The virtue of this even-handed approach is that it serves to isolate the marriage of melody and language at the root of any song – not unlike Ella Fitzgerald in her Songbook series. For example, merely by slowing down the great kiss-off anthem “Positively 4th Street” and having a piano set the scene, Ferry is able to sail past Dylan’s vitriol to a latitude of loss and regret, thus locating the pain that led to the lashing out. Similarly, he underscores the poetic beauty of “Gates Of Eden” by giving equal weight to each enchanted line. On this lyric especially, one can understand why he has compared singing Dylan to “an actor tackling Shakespeare.” Ferry’s systematic methodology reveals the flaws as well as the qualities of the chosen material, exposing Eric Von Schmidt’s “Baby Let Me Follow You Down” as the trifle it was before being transformed by the 21-year-old Dylan, and finding a sticky wad of sentiment within the late-period ballad “Make You Feel My Love”. Only on “All Along The Watchtower” does Ferry turn up the thermostat, leading the band through a raging performance that caps the album on an overtly dramatic note, understanding that this song’s brutal heart must be approached with commensurate intensity. It’s impossible to listen to Dylanesque without thinking of the Byrds’ seminal Mr Tambourine Man. They make fitting book-ends for four decades of forays into the Dylan canon, but the difference between the two records is profound: the difference, perhaps, between first love and an enduring relationship,. BUD SCOPPA

Bryan Ferry sings the familiar opening lines of “Just Like Tom Thumb’s Blues”, which introduces his album of Dylan covers, with close-miked clarity over a four-square rock groove. By the time he arrives at Rue Morgue Avenue, the cunning stylist has revealed his modus operandi: Ferry’s muscular touring band simply steamrollers the listener’s sense of the song in its original form, enabling the singer to approach the material on a level playing field, free of expectations and associations.

On Dylanesque, Ferry isn’t trying to compete with, or be like, Dylan. Rather than reinvent or replicate, he simply looks under the bonnet of each selection to see what makes it go and then takes it for a spin. The virtue of this even-handed approach is that it serves to isolate the marriage of melody and language at the root of any song – not unlike Ella Fitzgerald in her Songbook series. For example, merely by slowing down the great kiss-off anthem “Positively 4th Street” and having a piano set the scene, Ferry is able to sail past Dylan’s vitriol to a latitude of loss and regret, thus locating the pain that led to the lashing out. Similarly, he underscores the poetic beauty of “Gates Of Eden” by giving equal weight to each enchanted line. On this lyric especially, one can understand why he has compared singing Dylan to “an actor tackling Shakespeare.”

Ferry’s systematic methodology reveals the flaws as well as the qualities of the chosen material, exposing Eric Von Schmidt’s “Baby Let Me Follow You Down” as the trifle it was before being transformed by the 21-year-old Dylan, and finding a sticky wad of sentiment within the late-period ballad “Make You Feel My Love”. Only on “All Along The Watchtower” does Ferry turn up the thermostat, leading the band through a raging performance that caps the album on an overtly dramatic note, understanding that this song’s brutal heart must be approached with commensurate intensity.

It’s impossible to listen to Dylanesque without thinking of the Byrds’ seminal Mr Tambourine Man. They make fitting book-ends for four decades of forays into the Dylan canon, but the difference between the two records is profound: the difference, perhaps, between first love and an enduring relationship,.

BUD SCOPPA

Neil Young – Live At Massey Hall

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Neil Young – Live At Massey Hall

The Neil Young goldrush started late last year with a 1970 set from the Fillmore East, and will climax in the autumn with Archives Part One, an 8CD box. For now, though, there’s this solo show, recorded in Toronto on the Journey Thru The Past tour (and set to be included in the Archives box), a long-time staple of Young's bootleg catalogue. In many ways, it’s the mirror image of the Crazy Horse-accompanied 1970 Fillmore electric rampage. After six years of hard work in America, Young was on the brink of superstardom thanks to his recent link-up with Crosby, Stills & Nash. The previous year’s release of CSNY's Déjà Vu and Young’s own After The Goldrush had heightened the sense of expectation. Despite often wayward ill health, it was his season of intense creativity. Reminiscent of Dylan in his mid-‘60s heat, Young was practically pissing genius. Consequently, a hail-the-conquering-hero atmosphere was evident in Toronto: the crowd break into applause when he gets to the "I'm going back to Canada" line in the middle of “Journey Through The Past”. Unknown to them, Young was in a back brace after a sustaining an injury moving timber at his ranch on a Christmas break. Certainly, no signs of any distress are evident in his superlative acoustic guitar and ol’ Mission Hall piano accompaniment. The relaxed, rambling intros suggest that herbal self-medication was on the agenda. And if so, it only seems to have helped him to focus on the music; once into a song, the hangdog hippy is banished and magic takes hold, with Young attaining cinematic scope from minimal instrumental accompaniment. His high-flown vocal navigates the upper register with an ease and daring which has, naturally, diminished over the years. Young’s late father, sports writer Scott, whose passing provided the inspiration for many songs on 2005’s Prairie Wind, attended the Concert, giving “Old Man” added poignancy – a great (surely Springsteen-inspiring) song about the father/son generation gap. “See The Sky About To Rain”, not released until 1975, is a special treat from the future, while “Don't Let It Bring You Down” is beautifully blitzed out. The segue from “A Man Needs A Maid” into “Heart Of Gold” is a perfectly plangent pop moment, “Ohio” is haunted and vexed, and “The Needle And The Damage Done'” comes dedicated to Danny Whitten. But, really, the whole thing is faultless. With several songs in the set that were unreleased at the time, Young unsurprisingly demurred at producer David Briggs’ suggestion the show be issued before Harvest. No matter - 36 years on, it’s a still riveting performance. GAVIN MARTIN

The Neil Young goldrush started late last year with a 1970 set from the Fillmore East, and will climax in the autumn with Archives Part One, an 8CD box. For now, though, there’s this solo show, recorded in Toronto on the Journey Thru The Past tour (and set to be included in the Archives box), a long-time staple of Young’s bootleg catalogue.

In many ways, it’s the mirror image of the Crazy Horse-accompanied 1970 Fillmore electric rampage. After six years of hard work in America, Young was on the brink of superstardom thanks to his recent link-up with Crosby, Stills & Nash. The previous year’s release of CSNY’s Déjà Vu and Young’s own After The Goldrush had heightened the sense of expectation. Despite often wayward ill health, it was his season of intense creativity. Reminiscent of Dylan in his mid-‘60s heat, Young was practically pissing genius.

Consequently, a hail-the-conquering-hero atmosphere was evident in Toronto: the crowd break into applause when he gets to the “I’m going back to Canada” line in the middle of “Journey Through The Past”. Unknown to them, Young was in a back brace after a sustaining an injury moving timber at his ranch on a Christmas break. Certainly, no signs of any distress are evident in his superlative acoustic guitar and ol’ Mission Hall piano accompaniment. The relaxed, rambling intros suggest that herbal self-medication was on the agenda. And if so, it only seems to have helped him to focus on the music; once into a song, the hangdog hippy is banished and magic takes

hold, with Young attaining cinematic scope from minimal instrumental accompaniment.

His high-flown vocal navigates the upper register with an ease and daring which has, naturally, diminished over the years. Young’s late father, sports writer Scott, whose passing provided the inspiration for many songs on 2005’s Prairie Wind, attended the Concert, giving “Old Man” added poignancy – a great (surely Springsteen-inspiring) song about the father/son generation gap. “See The Sky About To Rain”, not released until 1975, is a special treat from the future, while “Don’t Let It Bring You Down” is beautifully blitzed out. The segue from “A Man Needs A Maid” into “Heart Of Gold” is a perfectly plangent pop moment, “Ohio” is haunted and vexed, and “The Needle And The Damage Done’” comes dedicated to Danny Whitten.

But, really, the whole thing is faultless. With several songs in the set that were unreleased at the time, Young unsurprisingly demurred at producer David Briggs’ suggestion the show be issued before Harvest. No matter – 36 years on, it’s a still riveting performance.

GAVIN MARTIN

Roger Waters On A Love Vibe With New Single

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Roger Waters On A Love Vibe With New Single

Roger Waters is to release a new download only single on March 26. The track "Hello (I Love You) is from the film score for Howard Shore's "The Last Mimzy." The song is written and performed by the Pink Floyd veteran, in collaboration with Grammy award-winning producer James Guthrie, whose previous credit includes Floyd's famous film "The Wall" and the remastering of "Dark Side Of The Moon." Commenting on coming up with the film's theme song with Shore, Waters has said: "I think together we've come up with a song that captures the themes of the movie - the clash between humanity's best and worst instincts, and how a child's innocence can win the day." "The Last Mimzy" is a forthcoming kid's science fiction film, due for release later this month. Click here to view the Hello (I Love You) video

Roger Waters is to release a new download only single on March 26.

The track “Hello (I Love You) is from the film score for Howard Shore’s “The Last Mimzy.”

The song is written and performed by the Pink Floyd veteran, in collaboration with Grammy award-winning producer James Guthrie, whose previous credit includes Floyd’s famous film “The Wall” and the remastering of “Dark Side Of The Moon.”

Commenting on coming up with the film’s theme song with Shore, Waters has said: “I think together we’ve come up with a song that captures the themes of the movie – the clash between humanity’s best and worst instincts, and how a child’s innocence can win the day.”

“The Last Mimzy” is a forthcoming kid’s science fiction film, due for release later this month.

Click here to view the Hello (I Love You) video

Wilco, Boris, Tuesday

John Mulvey
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I've been thinking some more about that new Wilco album, not least in response to a post from someone called Andrew. "It appears every thinking American songwriter," he writes "has been listening to Midlake's "The Trials Of Van Occupanther" and decided that America and Fleetwood Mac circa "Rumours" and "Tusk" are the way forward." You can see his point, though I imagine Jeff Tweedy would laugh incredulously at the idea he'd been inspired to do anything by Midlake. To be honest, I'm one of the few people around Uncut who doesn't really like "Van Occupanther": a couple of nice songs at the start, sure, but its pursuit of a bland aesthetic seems a little too successful to me, along with the slightly mimsy post-Mercury Rev mythologising. After a while, I forget it's playing. Someone in the office mentioned Fleetwood Mac when Wilco was playing the other day, specifically the deluxe passage of harmony guitars towards the end of "Impossible Germany". And maybe "Sky Blue Sky" works for me in the same way that the Midlake album works for so many of my colleagues: I can take the AOR sonorities because I'm comfortable (OK, smug) in the knowledge that Wilco could spiral off into some heavily awkward free jam at any moment. It's a dubious way of measuring an album's worth, but then blogs are meant to be all about subjectivity, right? Anyway, enough critical hand-wringing/waffle. A quick mention for today's Japanese freak-out. "Rainbow" is the new album from Boris, a prolific bunch of doom-mongers who've developed quite a cult following thanks to the burgeoning interest in very slow leftfield metal (Uncut contributor Simon Reynolds has been pondering this at length on his Blissblog recently; interesting read). "Rainbow" is their first effort this year - I think - and is a collaboration with the guitarist Michio Kurihara, who normally plays in the terrific psych band, Ghost. Kurihara seems to have mellowed Boris out a touch: after the obliterating thud of "Rafflesia", "Rainbow" is a lot lighter on its feet than typical Boris efforts. The title track, especially, recalls Damo Suzuki-era Can. Not much like Fleetwood Mac, it's fair to say, though I'm sure the Lindsey Buckingham loyalists could probably point me in the direction of one of his weirder experiments as an analogue. Couldn't you?

I’ve been thinking some more about that new Wilco album, not least in response to a post from someone called Andrew. “It appears every thinking American songwriter,” he writes “has been listening to Midlake‘s “The Trials Of Van Occupanther” and decided that America and Fleetwood Mac circa “Rumours” and “Tusk” are the way forward.”

Continue

Ryan Adams Makes Like A Hippy

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Ryan Adams Makes Like A Hippy

Prolific alt.rock singer/songwriter Ryan Adams has confirmed that he will be taking the opportunity to play a special album launch show at Stonehenge this Summer. The show on June 5 will be one of the few times a gig has been set in this gloriously pagan Wiltshire setting, and is part of the Salisbury International Art Festival. Ryan Adams has continued to record on several projects this year - putting together the final touches for latest - and ninth - studio album "Easy Tiger" which is due for release on the same day as the Stonehenge show. The follow up to 2006's "29" has the following confirmed tracklisting, revealed this week: 'Goodnight Rose' 'Everybody Knows' 'The Sun Also Sets' 'Halloween Head' 'Off Broadway' 'Two Hearts' 'Tears Of Gold' 'These Girls' 'Two' 'I Taught Myself How To Grow Old' 'Oh My God, Whatever, Etc.' 'Rip Off' 'Pearls On A String' Tickets for the intimate show are very limited and avaialble by special arrangement only. Terms and conditions of purchase will be confirmed and tickets issued in April, though fans can register their interest in attending by emailing marketing@salisburyfestival.co.uk. More details about the festival's events and ticket information is available here

Prolific alt.rock singer/songwriter Ryan Adams has confirmed that he will be taking the opportunity to play a special album launch show at Stonehenge this Summer.

The show on June 5 will be one of the few times a gig has been set in this gloriously pagan Wiltshire setting, and is part of the Salisbury International Art Festival.

Ryan Adams has continued to record on several projects this year – putting together the final touches for latest – and ninth – studio album “Easy Tiger” which is due for release on the same day as the Stonehenge show.

The follow up to 2006’s “29” has the following confirmed tracklisting, revealed this week:

‘Goodnight Rose’

‘Everybody Knows’

‘The Sun Also Sets’

‘Halloween Head’

‘Off Broadway’

‘Two Hearts’

‘Tears Of Gold’

‘These Girls’

‘Two’

‘I Taught Myself How To Grow Old’

‘Oh My God, Whatever, Etc.’

‘Rip Off’

‘Pearls On A String’

Tickets for the intimate show are very limited and avaialble by special arrangement only.

Terms and conditions of purchase will be confirmed and tickets issued in April, though fans can register their interest in attending by emailing marketing@salisburyfestival.co.uk.

More details about the festival’s events and ticket information is available here

Prince Buster Finds His Beat At Rhythm Festival

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Prince Buster Finds His Beat At Rhythm Festival

The Rhythm Festival is to take place in the Twinwood area of Bedford on the weekend of August 3-5. The festival, now in it's second year has confirmed the first headlining artists that will appear at the event are Jamaica's ska king Prince Buster, Alabama 3, Steve Harley & Cockney Rebel, The Levellers, Seth Lakeman and John Mayall & The Blues Breakers. The Rhythm Festival had a hugely successful debut last year, earning two nominations in the UK Festivals Awards, and the improved facilities should make this year's bash even better. Festival Director, Jim Driver says: “Rhythm Festival is a small, friendly event aimed at people who enjoy festivals but who don't appreciate rip-off burgers, Middle Ages sanitation and flavour-of-the-month programming.” The festival will also include an increased children's field, including mini olympics, workshops, entertainers and dodgems – a much-enlarged Healing/Alternative Culture field, a Comedy Stage (programmed by Ronnie Golden), a Folk Club and a solar-powered Cinema featuring an old-style kid's morning, mini-seasons of classic comedies, gangster movies and a raft of more cutting edge movies. Weekend tickets are £89, with kids under 11 going free. More details about the Rhythm Festival are available here The first acts confirmed are: FRIDAY The Beat, Dean Friedman, Levellers, The Men They Couldn't Hang, The Yardbirds SATURDAY Buick 6, Eddie & The Hot Rods, Prince Buster (Jamaica), Seth Lakeman, King Naat Veliov's Original Kokani Orchestra (Macedonia), Iain Matthews, Dave Pegg/PJ Wright, Waking The Witch, Stan Webb's Chicken Shack SUNDAY Alabama 3, Band From County Hell, Dr Feelgood, John Mayall & The Blues Breakers, Richie Milton & The Lowdown, Neville Staples Band (Specials), The Turns, Tiny Tin Lady

The Rhythm Festival is to take place in the Twinwood area of Bedford on the weekend of August 3-5.

The festival, now in it’s second year has confirmed the first headlining artists that will appear at the event are Jamaica’s ska king Prince Buster, Alabama 3, Steve Harley & Cockney Rebel, The Levellers, Seth Lakeman and John Mayall & The Blues Breakers.

The Rhythm Festival had a hugely successful debut last year, earning two nominations in the UK Festivals Awards, and the improved facilities should make this year’s bash even better.

Festival Director, Jim Driver says: “Rhythm Festival is a small, friendly event aimed at people who enjoy festivals but who don’t appreciate rip-off burgers, Middle Ages sanitation and flavour-of-the-month programming.”

The festival will also include an increased children’s field, including mini olympics, workshops, entertainers and dodgems – a much-enlarged Healing/Alternative Culture field, a Comedy Stage (programmed by Ronnie Golden), a Folk Club and a solar-powered Cinema featuring an old-style kid’s morning, mini-seasons of classic comedies, gangster movies and a raft of more cutting edge movies.

Weekend tickets are £89, with kids under 11 going free.

More details about the Rhythm Festival are available here

The first acts confirmed are:

FRIDAY

The Beat, Dean Friedman, Levellers, The Men They Couldn’t Hang, The Yardbirds

SATURDAY

Buick 6, Eddie & The Hot Rods, Prince Buster (Jamaica), Seth Lakeman, King Naat Veliov’s Original Kokani Orchestra (Macedonia), Iain Matthews, Dave Pegg/PJ Wright, Waking The Witch, Stan Webb’s Chicken Shack

SUNDAY

Alabama 3, Band From County Hell, Dr Feelgood, John Mayall & The Blues Breakers, Richie Milton & The Lowdown, Neville Staples Band (Specials), The Turns, Tiny Tin Lady

Ringo, Bolan, Clapton And A Zebra Are Revolution Kids

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Ringo, Bolan, Clapton And A Zebra Are Revolution Kids

Every day, we bring you the best thing we've seen on YouTube - a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows. Today: See Marc Bolan joined by Beatle Ringo Starr and Elton John performing a brilliant version of T-Rex’s “Children Of The Revolution.” This was part of the “Born To Boogie” movie footage. The film directed by Ringo Starr, was released on The Beatles' Apple Films label in 1972. As well as recording studio scenes filmed at the Apple Studio in Savile Row, the film also featured concert footage filmed at Wembley. Check out the wonky fairground shape-shifting mirrors and the stuffed animals littered amongst the instruments. The zebra rocks. Check out the stonking footage here

Every day, we bring you the best thing we’ve seen on YouTube – a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows.

Today: See Marc Bolan joined by Beatle Ringo Starr and Elton John performing a brilliant version of T-Rex’s “Children Of The Revolution.”

This was part of the “Born To Boogie” movie footage. The film directed by Ringo Starr, was released on The Beatles’ Apple Films label in 1972.

As well as recording studio scenes filmed at the Apple Studio in Savile Row, the film also featured concert footage filmed at Wembley.

Check out the wonky fairground shape-shifting mirrors and the stuffed animals littered amongst the instruments. The zebra rocks.

Check out the stonking footage here

Nearly 400,000 Register For This Year’s Glastonbury

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Nearly 400,000 Register For This Year’s Glastonbury

The period for registering for the chance to buy a Glastonbury festival ticket ended at midnight yesterday. Organisers say that 395,000 people have registered the world-famous Somerset event, meaning there will be some scramble for tickets when they go onsale on April 1. The event that takes place on Worthy Farm between June 22 and 24 usually has a capacity of around 130, 000, but this year may be increased to 145,000. Just prior to the original cut-off point of February 28, it was reported that over 1200 registrations an hour were being received. Registration- providing address details and a photograph was introduced for the first time this year in an attempt to combat ticket touts. Acts so far confirmed to play this year's Glasto are The Who, Arcade Fire, Arctic Monkeys, The Killers and Bjork - although the official line-up will be announced when the event is sold-out. More information about the festival is available here from glastonburyfestivals.co.uk

The period for registering for the chance to buy a Glastonbury festival ticket ended at midnight yesterday.

Organisers say that 395,000 people have registered the world-famous Somerset event, meaning there will be some scramble for tickets when they go onsale on April 1.

The event that takes place on Worthy Farm between June 22 and 24 usually has a capacity of around 130, 000, but this year may be increased to 145,000.

Just prior to the original cut-off point of February 28, it was reported that over 1200 registrations an hour were being received.

Registration- providing address details and a photograph was introduced for the first time this year in an attempt to combat ticket touts.

Acts so far confirmed to play this year’s Glasto are The Who, Arcade Fire, Arctic Monkeys, The Killers and Bjork – although the official line-up will be announced when the event is sold-out.

More information about the festival is available here from glastonburyfestivals.co.uk

Echo And The Bunnymen To Play Leicester Fest

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Echo And The Bunnymen To Play Leicester Fest

Echo and the Bunnymen have been confirmed as one of the headliners at this year's Summer Sundae festival in Leicester. The Bunnymen's current touring incarnation comprises founder members Ian McCulloch and Will Sergeant with Simon Finley (drums), Stephen Brennan (bass), Gordy Goudie (guitar), and Paul Fleming (keyboards). The three day, five stage, music festival takes place in the grounds of De Montfort Hall between August 10 and 12. Also confirmed to play are The Magic Numbers, Gruff Rhys, The Pipettes and Uncut favourites Richmond Fontaine. Another 90 artists are still to be confirmed for the event which is now in it's sixth year. Previous years have seen sets from Patti Smith, Belle & Sebastian, Gomez, Calexico and Yo La Tengo. Early bird ticket offer of £75 for the whole weekend ends this Friday (March 9). More artist and ticket information available from here

Echo and the Bunnymen have been confirmed as one of the headliners at this year’s Summer Sundae festival in Leicester.

The Bunnymen’s current touring incarnation comprises founder members Ian McCulloch and Will Sergeant with Simon Finley (drums), Stephen Brennan (bass), Gordy Goudie (guitar), and Paul Fleming (keyboards).

The three day, five stage, music festival takes place in the grounds of De Montfort Hall between August 10 and 12.

Also confirmed to play are The Magic Numbers, Gruff Rhys, The Pipettes and Uncut favourites Richmond Fontaine.

Another 90 artists are still to be confirmed for the event which is now in it’s sixth year.

Previous years have seen sets from Patti Smith, Belle & Sebastian, Gomez, Calexico and Yo La Tengo.

Early bird ticket offer of £75 for the whole weekend ends this Friday (March 9).

More artist and ticket information available from here

Wilco To Play UK Shows In May

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Wilco To Play UK Shows In May

Wilco have announced that they play a series of shows in Europe in May, in support of their forthcoming album "Sky Blue Sky" which is due for release on May 14. The first European show will be as part of the All Tomorrow's Parties festival in Somerset on May 19. Wilco will also play London's Shepherd's Bush Empire the following night, May 20. The band are expected to announce details for shows in Germany, France, Belgium, Holland and Spain. "Sky Blue Sky" is the band's first studio album since Wilco's 2004 Grammy Award-winning "A Ghost Is Born." Wilco will return to Europe later in the year for further tour dates. Uncut has been lucky enough to hear the highly anticipated new album, for a preview of the new Wilco material read Deputy Editor John Mulvey's blog here Uncut has been lucky enough to hear the highly anticipated new album. For a preview of the new Wilco material read Deputy Editor John Mulvey's blog here

Wilco have announced that they play a series of shows in Europe in May, in support of their forthcoming album “Sky Blue Sky” which is due for release on May 14.

The first European show will be as part of the All Tomorrow’s Parties festival in Somerset on May 19.

Wilco will also play London’s Shepherd’s Bush Empire the following night, May 20.

The band are expected to announce details for shows in Germany, France, Belgium, Holland and Spain.

“Sky Blue Sky” is the band’s first studio album since Wilco’s 2004 Grammy Award-winning “A Ghost Is Born.”

Wilco will return to Europe later in the year for further tour dates.

Uncut has been lucky enough to hear the highly anticipated new album, for a preview of the new Wilco material read Deputy Editor John Mulvey’s blog here

Uncut has been lucky enough to hear the highly anticipated new album.

For a preview of the new Wilco material read Deputy Editor John Mulvey’s blog here

Sky Blue Sky

John Mulvey
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Jeff Tweedy has always been a perverse bugger. When Wilco became the toast of the Americana classes, Tweedy did everything in his considerable power to disassociate himself from the scene. He made the two greatest albums of his career, "Yankee Hotel Foxtrot" and "A Ghost Is Born", and saw his band h...

Jeff Tweedy has always been a perverse bugger. When Wilco became the toast of the Americana classes, Tweedy did everything in his considerable power to disassociate himself from the scene. He made the two greatest albums of his career, “Yankee Hotel Foxtrot” and “A Ghost Is Born”, and saw his band hailed as so adventurous as to be virtually avant-garde. Clearly, though, being stereotyped as a radical is starting to get on his nerves.

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New Nine Inch Nails Track Posted On Web

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New Nine Inch Nails Track Posted On Web

Ahead of their latest studio release "Year Zero," US industrial rock group Nine Inch Nails have made another available to listen to on their MySpace page. "In This Twilight" has been added to their profile, alongside forthcoming new single "Survivalism" - also from the new album which is due for worldwide release on April 6. As previously reported the tracklisting for "Year Zero" is as follows: Hyperpower! The Beginning Of The End Survivalism The Good Soldier Vessel Me, I'm Not Capital G My Violent Heart The Warning God Given Meet You Master The Greater Good The Great Destroyer Another Version Of The Truth In This Twilight Zero-Sum The band are currently on a UK tour, tonight they play in Birmingham, and this week they also play four nights at London's Brixton Academy. Birmingham Academy (March 5) London Brixton Academy (7,8,10,11) Wolverhampton Civic Hall (12) You can hear In This Twilight by clicking here to go to NIN's MySpace profile

Ahead of their latest studio release “Year Zero,” US industrial rock group Nine Inch Nails have made another available to listen to on their MySpace page.

“In This Twilight” has been added to their profile, alongside forthcoming new single “Survivalism” – also from the new album which is due for worldwide release on April 6.

As previously reported the tracklisting for “Year Zero” is as follows:

Hyperpower!

The Beginning Of The End

Survivalism

The Good Soldier

Vessel

Me, I’m Not

Capital G

My Violent Heart

The Warning

God Given

Meet You Master

The Greater Good

The Great Destroyer

Another Version Of The Truth

In This Twilight

Zero-Sum

The band are currently on a UK tour, tonight they play in Birmingham, and this week they also play four nights at London’s Brixton Academy.

Birmingham Academy (March 5)

London Brixton Academy (7,8,10,11)

Wolverhampton Civic Hall (12)

You can hear In This Twilight by clicking here to go to NIN’s MySpace profile

Less Than Jake To Play Six Album Club Shows

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Less Than Jake To Play Six Album Club Shows

US ska/punk/pop band Less Than Jake are to perform a series of shows at London's Mean Fiddler in September. The infectious group will play a six-night residency, playing through a different album from their back catalogue each night, alongside b-sides and rarities. Albums set to be played through are "Pezcore," "Losing Streak," "Hello Rockview," "Borders & Boundaries, "Anthem" and "In With The Out Crowd." LTJ recently rehearsed 109 songs from their fifteen year career for a smilar residency event in their hometown of Florida. The UK shows will run from September 11 to 16, with the order in which the albums will be performed yet to be determined. These will be the group's only intimate UK shows this year. Founder member and drummer Vinnie says: "We feel that the UK is our second home and want to something special for our friends and fans there. Some of the best shows we have played were in the UK, some great memories to go with those shows. The six shows are the best and biggest thank you we could think of to give." Tickets for individual shows are £14 from usual ticket outlets, however, a season ticket will be available via postal application from Straight Music, priced £76.50. Send a cheque or money order made payable to Straight Music Ltd to: LTJ c/o Straight Music 2 Munro Terrace London SW10 0DL More details about the LTJ residency is available from the band's website here

US ska/punk/pop band Less Than Jake are to perform a series of shows at London’s Mean Fiddler in September.

The infectious group will play a six-night residency, playing through a different album from their back catalogue each night, alongside b-sides and rarities.

Albums set to be played through are “Pezcore,” “Losing Streak,” “Hello Rockview,” “Borders & Boundaries, “Anthem” and “In With The Out Crowd.”

LTJ recently rehearsed 109 songs from their fifteen year career for a smilar residency event in their hometown of Florida.

The UK shows will run from September 11 to 16, with the order in which the albums will be performed yet to be determined. These will be the group’s only intimate UK shows this year.

Founder member and drummer Vinnie says: “We feel that the UK is our second home and want to something special for our friends and fans there. Some of the best shows we have played were in the UK, some great memories to go with those shows. The six shows are the best and biggest thank you we could think of to give.”

Tickets for individual shows are £14 from usual ticket outlets, however, a season ticket will be available via postal application from Straight Music, priced £76.50.

Send a cheque or money order made payable to Straight Music Ltd to:

LTJ c/o

Straight Music

2 Munro Terrace

London SW10 0DL

More details about the LTJ residency is available from the band’s website here

TEN YEARS AGO THIS WEEK

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HAPPENINGS TEN YEARS TIME AGO March 5 to 11, 1997 The Notorious B.I.G. is shot dead as he sits in a car outside the Soul Train Music Awards in Los Angeles. Police confirm they are investigating links between the killing and the slaying of Tupac Shakur in a drive-by shooting in Las Vegas six months earlier, fuelling tabloid stories of a feud between the East Coast and West Coast rap communities. Biggie's demise comes just days after Death Row Records president Marion 'Suge' Knight receives a nine-year sentence for parole violations. Paul McCartney receives his knighthood from the Queen at Buckhingam Palace, to add to the MBE he received in 1965. Bono bemoans the state of modern rock music, while plugging U2's Pop album in the pages of Time magazine: "It does seem absurd that there are punk rockers in the late '90s rebelling against their parents with their parents' music. I can't quite get my head around that, it's like 'Dad, you suck - can I borrow your Sex Pistols album?'. White bread rock has, for me, lost its sense of adventure, and seems very tired in comparison with hip-hop. Spice Girls become the first act to have UK Number One singles with each of their first four releases, following the success of the double A-side "Who Do You Think You Are" and "Mama", but are knocked off the top of the albums chart by U2. Wearing his film producer's hat, Mick Jagger is rumoured to be wooing Madonna to star in a forthcoming movie about a 1930s Hollywood starlet who becomes a political activist. R&B legend Lavern Baker dies of complications from diabetes, aged 67. Only the second woman ever to be inducted into the Rock 'n' Roll Hall Of Fame (after Aretha Franklin), she was best known for the hits "Tweedle Dee" and "Jim Dandy". She was halfway through a comeback tour, despite having had both her legs amputated two years earlier. Actor David Doyle, best known as Bosley in the TV series Charlie's Angels, dies of a heart attack, aged 67. A French court orders Brigitte Bardot and her publishers to pay 250,000 francs compensation to her ex-husband Jacques Charrier and son Nicholas for comments made in her memoirs. Bardot described Charrier, who she divorced in 1963, as a "bourgeois coward" and Nicholas as "a tumour who fed off me while I was pregnant". Private Parts, the biopic of Howard Stern in which the controversial broadcaster plays himself, tops the US box office chart, ending a five-week run of the special editions of Star Wars and The Empire Strikes Back. An explosion at a nuclear waste processing plant in Japan triggers panic across the country, although authorities claim only a handful of the plant's 35 workers were exposed to low-level radioactive contamination. Tete de Femme, a 1931 work by Pablo Picasso, is stolen from a London gallery, but recovered a week later.

HAPPENINGS TEN YEARS TIME AGO

March 5 to 11, 1997

The Notorious B.I.G. is shot dead as he sits in a car outside the Soul Train Music Awards in Los Angeles. Police confirm they are investigating links between the killing and the slaying of Tupac Shakur in a drive-by shooting in Las Vegas six months earlier, fuelling tabloid stories of a feud between the East Coast and West Coast rap communities. Biggie’s demise comes just days after Death Row Records president Marion ‘Suge’ Knight receives a nine-year sentence for parole violations.

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OMD To Play Aintree’s Summer Pops

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OMD To Play Aintree’s Summer Pops

Orchestral Manoeuvres In The Dark, the Liverpool pioneers of British electronic music founded by Andy McCluskey andPaul Humphreys, have announced a homecoming gig, headlining at this year's Summer Pops festival. The show on July 21 will be the OMD's final show of the band's comeback tour. Their shows are the first since 1989 and OMD have regrouped with original band members Martin Cooper and Malcolm Holmes. McCluskey knows the homecoming show will be special, saying "Every band will tell you that Liverpool is always a favourite city to play on any tour because the audience is the best. For OMD, Liverpool is also our our home town gig. What better place to celebrate the last night of our comeback tour?” Liverpools' Summer Pops festival has this year relocated to Aintree race course to increase capacity for the shows to 4,500. BRIT award-winning singer James Morrison will headline on July 11 and boyband McFly take to the stage on July 20. Support acts will be announced in the coming weeks, and tickets go onsale this Friday (March 9) at 9am. More information about Summer Pops is available here from CMP Entertainment Click here for information about events in Liverpool

Orchestral Manoeuvres In The Dark, the Liverpool pioneers of British electronic music founded by Andy McCluskey andPaul Humphreys, have announced a homecoming gig, headlining at this year’s Summer Pops festival.

The show on July 21 will be the OMD’s final show of the band’s comeback tour.

Their shows are the first since 1989 and OMD have regrouped with original band members Martin Cooper and Malcolm Holmes.

McCluskey knows the homecoming show will be special, saying “Every band will tell you that Liverpool is always a favourite city to play on any tour because the audience is the best. For OMD, Liverpool is also our our home town gig. What better place to celebrate the last night of our comeback tour?”

Liverpools’ Summer Pops festival has this year relocated to Aintree race course to increase capacity for the shows to 4,500.

BRIT award-winning singer James Morrison will headline on July 11 and boyband McFly take to the stage on July 20.

Support acts will be announced in the coming weeks, and tickets go onsale this Friday (March 9) at 9am.

More information about Summer Pops is available here from CMP Entertainment

Click here for information about events in Liverpool

Kermit The Frog Plays David Byrne In Talking Heads Skit

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Kermit The Frog Plays David Byrne In Talking Heads Skit

Every day, we bring you the best thing we've seen on YouTube - a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows. Today: See Kermit the Frog perform a jerky, puppet dancing version of Talking Heads’ classic 1980 single “Once In A Lifetime.” The Muppets Tonight video copies the marionette style choreography that the original video became renowned for. Kermit’s vocals are provided by Jim Henson puppeteer Steve Whitmire- who is also the voice behind Sesame Street’s Ernie. See the Talking Heads video skit here

Every day, we bring you the best thing we’ve seen on YouTube – a great piece of archive footage, a music promo or a clip from one of our favourite movies or TV shows.

Today: See Kermit the Frog perform a jerky, puppet dancing version of Talking Heads’ classic 1980 single “Once In A Lifetime.”

The Muppets Tonight video copies the marionette style choreography that the original video became renowned for.

Kermit’s vocals are provided by Jim Henson puppeteer Steve Whitmire- who is also the voice behind Sesame Street’s Ernie.

See the Talking Heads video skit here

The Police To Tour Europe

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The Police To Tour Europe

The Police today confirmed dates and venues for the European leg of their world tour, after all dates on their North American tour sold out. The Police kick-off the reunion tour in Europe at the Globe Arena, Stockholm on August 29. The band's first UK show since 1986's Synchronicity Tour will take place at Twickenham Stadium on September 8, with further shows taking place in Birmingham and Manchester. This leg of the reunion tour will culminate at Cardiff's Millennium Stadium on October 19. Arthur Fogel, Chairman of Live Nation, the concert promoters said: "The anticipation and excitement to see The Police is overwhelming. We are absolutely thrilled to be bringing the band to fans new and old." As with the North American tour, Fan Club members get the chance to buy tickets ahead of the general public, and tickets go onsale from tomorrow morning (March 6). You can catch The Police at the following venues this Autumn: Globe Arena, Stockholm (Public Sale Mar 12/FC Presale Mar 7) (Aug 29) NIA, Birmingham (Public Sale Mar 9/FC Presale Mar 6) (Sept 4) Twickenham Stadium, London (Public Sale Mar 9/FC Presale Mar 6) (Sep 8) AOL Arena, Hamburg (Public Sale Mar 16/FC Presale Mar 13) (Sep 11) Arena, Amsterdam (Public Sale Mar 9/FC Presale Mar 6) (Sep 13) Sazka Arena, Prague (Public Sale TBA/FC Presale TBA) (Sep 16) Stadthalle, Vienna (Public Sale Mar 19/FC Presale TBA) (Sep 19) Olympiastadion, Munich (Public Sale Mar 16/FC Presale Mar 13) (Sep 22) Olympic Stadium, Barcelona (Public Sale TBA/FC Presale TBA) (Sep 27) Stade de France, Paris (Public Sale Mar 21/FC Presale TBA) (Sep 29) LTU Arena, Dusseldorf (Public Sale Mar 16/FC Presale Mar 13) (Oct 13) MEN Arena, Manchester (Public Sale Mar 9/FC Presale Mar 6) (Oct 15) Millennium Stadium, Cardiff (Public Sale Mar 9/FC Presale Mar 6) (Oct 19) Show details for Italy, Switzerland, Belgium, and Denmark are still to be confirmed. A portion of the proceeds from this tour will be donated to WaterAid, the charity dedicated to reducing poverty in the world's 17 of the world's poorest countries by improving access to safe water, sanitation, and hygiene education. Click here for complete tour & ticket information from thepolicetour.com

The Police today confirmed dates and venues for the European leg of their world tour, after all dates on their North American tour sold out.

The Police kick-off the reunion tour in Europe at the Globe Arena, Stockholm on August 29.

The band’s first UK show since 1986’s Synchronicity Tour will take place at Twickenham Stadium on September 8, with further shows taking place in Birmingham and Manchester.

This leg of the reunion tour will culminate at Cardiff’s Millennium Stadium on October 19.

Arthur Fogel, Chairman of Live Nation, the concert promoters said: “The anticipation and excitement to see The Police is overwhelming. We are absolutely thrilled to be bringing the band to fans new and old.”

As with the North American tour, Fan Club members get the chance to buy tickets ahead of the general public, and tickets go onsale from tomorrow morning (March 6).

You can catch The Police at the following venues this Autumn:

Globe Arena, Stockholm (Public Sale Mar 12/FC Presale Mar 7) (Aug 29)

NIA, Birmingham (Public Sale Mar 9/FC Presale Mar 6) (Sept 4)

Twickenham Stadium, London (Public Sale Mar 9/FC Presale Mar 6) (Sep 8)

AOL Arena, Hamburg (Public Sale Mar 16/FC Presale Mar 13) (Sep 11)

Arena, Amsterdam (Public Sale Mar 9/FC Presale Mar 6) (Sep 13)

Sazka Arena, Prague (Public Sale TBA/FC Presale TBA) (Sep 16)

Stadthalle, Vienna (Public Sale Mar 19/FC Presale TBA) (Sep 19)

Olympiastadion, Munich (Public Sale Mar 16/FC Presale Mar 13) (Sep 22)

Olympic Stadium, Barcelona (Public Sale TBA/FC Presale TBA) (Sep 27)

Stade de France, Paris (Public Sale Mar 21/FC Presale TBA) (Sep 29)

LTU Arena, Dusseldorf (Public Sale Mar 16/FC Presale Mar 13) (Oct 13)

MEN Arena, Manchester (Public Sale Mar 9/FC Presale Mar 6) (Oct 15)

Millennium Stadium, Cardiff (Public Sale Mar 9/FC Presale Mar 6) (Oct 19)

Show details for Italy, Switzerland, Belgium, and Denmark are still to be confirmed.

A portion of the proceeds from this tour will be donated to WaterAid, the charity dedicated to reducing poverty in the world’s 17 of the world’s poorest countries by improving access to safe water, sanitation, and hygiene education.

Click here for complete tour & ticket information from thepolicetour.com

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