This year’s edition will take place at its usual spot on the Larmer Tree Gardens site on the border of Dorset and Wiltshire, and run between August 29 and September 1.
Joining them as part of the new announcement are Billy Woods, Lætitia Sadier, Still House Plants, Gustaf, Sextile, MSPAINT, Debmaster, SENYAWA, Chanel Beads, H31R, Plantoid, Anastacia Coope, The None, NiCKY, SOMOH, OTG and Me Lost Me.
MORE BANDS JUST ANNOUNCED FOR END OF THE ROAD 2024!
Joining IDLES, Slowdive, Fever Ray, Bonnie “Prince” Billy, Yo La Tengo, Sleater-Kinney and Lankum in the gardens will be legendary Sheffield singer-songwriter @RichardHawley and psych-folk-rock supergroup @altingunband (1/3) pic.twitter.com/LkVqNAxVOs
“This year’s line-up is very special to me. It includes a lot of artists who released personal favourite albums of 2023: Lankum, Nation of Language, Slowdive, Casisdead, Yo la Tengo, The Lemon Twigs, Joanna Sternberg, Mark Lewis Hamilton, Fever Ray and many more,” said End Of The Road co-founder Simon Taffe of the 2024 edition.
“I’m also super excited that Bonnie ‘Prince’ Billy is performing a very rare festival appearance – Will Oldham is one of the all-time greats. We have been inviting him to End of the Road since 2006, so we can’t wait!”
In a five-star review of the 2023 edition of End Of The Road, NME wrote: “The best fucking festival in the world? Maybe – but keep it to yourself. This review will self-destruct in five…”
Tory MP Penny Mordaunt notably dodged a question about the government rejecting the recommendations of the Misogyny In Music report in a parliamentary session today (April 25).
Kevin Brennan, Labour MP for Cardiff West, called for a debate to be held relating to the Government’s decision to reject the recommendations made by the Women and Equalities Select Committee in the report, which was published in January.
He then pointed to comments made in disapproval of the government’s decision, including from the Chair of the Select Committee Caroline Nokes – who is MP for Romsey and Southampton North – who said “we have had platitudes and reassurance but no action”.
“Is she comfortable with what the government’s done, and therefore if she isn’t, will she facilitate debate to explore it further?”
“First of all, I think the improvements on the statistics that he gave on the start of his question are something to be proud of and to show that improvements are being made,” said Mordaunt. “I will certainly make sure that the relevant department has heard what the Honourable Gentleman has said today and given that I am a member of the government, I stand on the government’s position.”
Watch the video below:
Is the Leader of the House comfortable with the UK Government rejecting the recommendations made by @Commonswomequ in their 'Misogyny in Music' report?
Published in January, the report warned that women in the music industry face “endemic” misogyny and discrimination and said “urgent action” was required to tackle the issue.
The document described the industry as a “boys’ club” where sexual harassment and abuse are common, and the non-reporting of such incidents is high. Victims who do speak out struggle to be believed or may find their career ends as a consequence, it claimed.
The WEC’s recommendations included urging ministers to take legislative steps to amend the Equality Act. This would ensure that freelance workers have the same protections from discrimination as employees, and would bring into force Section 14 to improve protections for people facing intersectional inequality.
The WEC also recommended that the UK government should legislate to impose a duty on employers to protect workers from sexual harassment by third parties, a proposal the government initially supported and then rejected last year.
It also called for an investment in diversity schemes by both the wider industry and government, especially for male-dominated areas such as A&R, sound engineering and production.
Additionally, the committee urged record labels to commit to regular publication of statistics on the diversity of their rosters. It said that all organisations with more than 100 employees should be required to publish data on the diversity of their workforce, as well as gender and ethnicity pay gaps.
Furthermore, since the report highlighted the use of NDAs that left victims of sexual harassment and abuse “threatened into silence”, the WEC recommended prohibiting their use in cases involving sexual abuse, sexual harassment or sexual misconduct, bullying or harassment, and discrimination relating to a protected characteristic. It has also recommended that the government should consider a retrospective moratorium on NDAs for those who have signed them relating to the issues outlined.
The government’s response said that “everyone should be able to work in the music industry without being subject to misogyny and discrimination”, the Department of Culture, Media and Sport has confirmed it won’t take any of the recommended actions.
In response to the news, the chief executive of the Independent Society of Musicians (ISM) Deborah Annetts said: ‘The Misogyny in Music report should have been a moment of immediate and lasting change for the music industry. The report laid bare the incredibly serious problems the sector has and the entirely reasonable steps Government should take the rectify them.
“For the Government to choose not to make music safer for women is painfully disappointing, if sadly not surprising. The brilliant women who make our music industry what it is deserve better.”
Meanwhile, Safe Gigs For Women added: “We are saddened to read that this government has rejected the Misogyny in Music report published in January by the Women and Equalities Committee. Sexual violence changes lives – inaction is inexcusable.”
We are saddened to read that this government has rejected the Misogyny in Music report published in January by the Women and Equalities Committee. Sexual violence changes lives – inaction is inexcusable. #endVAWG
— safegigs4women #saveourvenues (@safegigs4women) April 23, 2024
The Musicians’ Union has also voiced their disappointment at the government’s response. “The MU are deeply disappointed in the government’s response to the Misogyny In Music report and shocked that the select committee’s recommendations have been rejected in this way,” said their General Secretary Naomi Pohl.
“Women from across the music industry have bravely shared their experiences of misogyny, sexual harassment and abuse as well as other very real barriers they face whilst working in the industry,” she continued. “The government had an opportunity to listen and learn from those lived experiences and implement the changes that the select committee’s report recommended. Instead, the government decided that women’s safety is not a priority. Again, survivors are not being listened to”.
“The Equality Act is out of date and does not reflect how people see themselves or how they work, it needs updating as a matter of urgency. The industry needs increased funding to support targeted action to improve diversity and an improved legislative framework that reflects the way musicians work. The government has committed to neither”.
“We urge the government to rethink its position and implement the recommendations from the report”, she concluded.
“Though it’s heartening to see the government’s willingness to engage with the Creative Industries Independent Standards Authority (CIISA), their oversight of the unique challenges faced by women in our sector is profoundly disheartening,” says Black Lives in Music CEO Charisse Beaumont.
“To dismiss the need for the dual discrimination provision in the Equality Act 2010 as ‘unnecessary’ reveals a grave misunderstanding or, worse, a blatant disregard by the government,” she added. “Intersectional discrimination is a harsh reality for countless women in our industry.”
At the time the report was published, Self Esteemspoke out about her experiences in the music industry. “I didn’t think in my lifetime I’d see any transparency about it,” she shared. “You are made to feel like you’re being over the top, too much, a princess, a diva. Now, me at 37, reading this report I’m going – well yeah, I feel validated.”
She added that she “could cry thinking about the women who haven’t been able to make music and say the things they’d like to say. We revere Bowie and The Beatles, there are so many women that were just as good, but they never got the chance”
The venue had to postpone its opening over issues with its power supply, while boss Gary Roden caused controversy with remarks about grassroots music venues being “poorly run”
The boss of the new Co-Op Live Arena has resigned after the opening of the venue was beleaguered by rows, controversy and teething problems.
Gary Roden had come under fire in particular for his comments about grassroots music venues, arguing some of them were “poorly run” and insisting a proposed £1 ticket levy to preserve their future was “too simplistic”.
The 23,500-capacity venue, which is now the largest arena in the UK, was supposed to open with performances from Peter Kay on April 23 and 24 but following a test gig featuring Rick Astley at the weekend, the shows were moved to April 29 and 30 due to the venue’s power testing falling “a few days” behind schedule.
Organisers insisted they were “not embarrassed” by the postponements, saying they were now focused on “ensuring a consistent total power supply”.
In an appearance on BBC North WestTonight, Managing Director Tim Leiweke echoed that sentiment (via Manchester Evening News). “I think it’s a source of commitment to safety and expectations and trying to make sure that when people come in the building we do it right. We have work to do this week, we’re not embarrassed by moving Peter Kay.”
Now, in a series of statements published today (April 25), Jessica Koravos, the president of international at US-based venue operator Oak View Group (OVG), said that Roden had “decided to resign” [via The Telegraph].
She added in a separate statement: “Neither Co-op Live nor Oak View Group share the sentiment expressed by former Co-op Live general manager Gary Roden regarding the grassroots industry. As OVG chairman and CEO Tim Leiweke has repeatedly stated, Co-op Live remains committed to grassroots music in Manchester and beyond, including teaming up with mayor of Greater Manchester Andy Burnham on the Artist of the Month campaign, and as a founding partner of Beyond The Music [festival]. Co-op Live also donates over £1m a year to the Co-op Foundation to support communities and empower young people to take social action through its new Young Gamechangers fund.”
She added that Oak View Group and Co-op Live are “happy” to meet with grassroots organisations once the venue is “fully operational”. Koravos wished Roden “the best for the future”.
We are focusing on ensuring a consistent total power supply to our venue, and testing thoroughly.
We are preparing to welcome The Black Keys to Co-op Live on Saturday, and Peter Kay on Monday and Tuesday next week.
In addition, the test event with Astley was also beset with issues, with bosses forced to apologise after some tickets were axed ahead of the show in order to reduce the capacity to 11,000.
“To enable us to test the spaces effectively, we have made the difficult decision to reduce overall capacity for today’s test event,” a Co-op Live spokesman told BBC News.
Tickets have instead been offered The Black Keys on April 27 “as a gesture of our appreciation”, the spokesman added.
There were also complaints online about the prices of drinks at the event, with pints of beer setting gig goers back £8.95 each.
Lots of comments about the drinks prices at the new Co-op Live – these were the price lists at the two bars open at the test event last night. Still not over the £8.95 pints https://t.co/qiVDFMhkfUpic.twitter.com/Nse61yuvGX
Roden told the BBC he believes the levy is “too simplistic”, and says it should fall on the government rather than major arenas to support the live music ecosystem.
“If the conversation stops being ‘Give me a quid’ and quite aggressive – if it changed to be, ‘What can we do together to help?’, that’s where I think we start to get into that apprenticeship conversation and all those different things that we want to work through,” he said.
Despite Swift’s massive success in recent years, with her new double album becoming the fastest-selling of 2024, Tennant said in a Guardian Live event An Evening with Pet Shop Boys that he thought the quality of her music didn’t hold up to her popularity.
“What is Taylor Swift’s ‘Billie Jean’?” he asked. “‘Shake It Off’? I listened to that the other day and it is not ‘Billie Jean’, is it?”
Tennant added that he appreciated that Swift’s music “brings people together” but “the one disappointing thing is the music, not the lyrics”. Despite this, he also raised an eyebrow at the way she has famously taken inspiration from her previous relationships for lyrics.
“To have a successful pop career now you have to have a series of relationships, which are amazing and then break up tragically,” he said. “In the world of pop, people don’t write songs like ‘Karma Chameleon’ anymore.”
“She might be a safe space for girls, and she’s probably the Madonna of now, but she’s not interesting as an artist,” the Hole singer said.
SÃO PAULO, BRAZIL – DECEMBER 2: English Band The Pet Shop Boys performs on stage during day 1 of the Primavera Sound Sao Paulo music festival at Autódromo José Carlos Pace on December 2, 2023, in Sao Paulo, Brazil. (Photo by Leandro Bernardes/PxImages/Icon Sportswire via Getty Images)
In a three-star review of ‘The Tortured Poets Department’, NME wrote: “Swift seems to be in tireless pursuit for superstardom, yet the negative public opinion it can come with irks her, and it’s a tired theme now plaguing her discography and leaving little room for the poignant lyrical observations she excels at. It’s why the pitfalls that mire her 11th studio album are all the more disappointing — she’s proven time and time again she can do better. To a Melbourne audience of her Eras Tour, Swift said that ‘The Tortured Poets Department’ came from a “need” to write. It’s just that maybe we didn’t need to hear it.
Meanwhile, in a new interview with NME, Pet Shop Boys described their new album ‘Nonetheless’ as their “queer album” and Tennant, who came out as gay in 1994, discussed how things have changed for the queer community in pop culture since then.
“What I think now is that what you might call gay culture has become mainstream,” Tennant said. Several years ago, I went to see Jake Shears in Kinky Boots on Broadway. It was an essentially straight audience, and when the drag queens came on, they all went ballistic. I thought: ‘Wow, this whole thing’s just gone totally mainstream’ – and I think it’s ‘cause of RuPaul’s Drag Race.”
“It’s like with theIt’s a Sin TV series,” he continued, referencing the 2021 Olly Alexander-starring Channel 4 drama that cribbed its name from the Pet Shop Boys’ 1987 chart-topper. “You feel the straight community finally faced up to the AIDS crisis.”
In a four-star review of the album, NME wrote: ‘Nonetheless’ unfolds like a 10-song short story collection, peppered with richly-drawn characters, and esoteric cultural references. The woozily romantic ‘Feel’ – originally earmarked for a Brandon Flowers solo album – paints a picture of somebody counting down the days until they can visit their lover in prison and aches with longing. The electroclash ‘Bullet for Narcissus’, meanwhile, combines New Order guitars with the inner-monologue of a bodyguard tasked with protecting a Trump-like tyrant who’s “so banal he’s made of mainstream”.
Anne Hathaway has recalled the “gross” occasion where she had to “make out with 10 men” during an audition.
Hathaway said this was done as a chemistry test when she was doing an audition in the early 2000s.
“Back in the 2000s – and this did happen to me – it was considered normal to ask an actor to make out with other actors to test for chemistry, which is actually the worst way to do it,” she said.
“I was told, ‘We have 10 guys coming today and you’re cast. Aren’t you excited to make out with all of them?’ And I thought, ‘Is there something wrong with me?’ because I wasn’t excited. I thought it sounded gross.
“And I was so young and terribly aware how easy it was to lose everything by being labelled ‘difficult’, so I just pretended I was excited and got on with it. It wasn’t a power play, no one was trying to be awful or hurt me.”
“It was just a very different time and now we know better.”
To illustrate how much things have changed, Hathaway compared that experience to a chemistry test in auditions for her recent film The Idea Of You. The romantic comedy stars Hathaway as a 40-year-old single mother who becomes involved with a 24-year-old
“We asked each of the actors coming in to choose a song that they felt their character would love, that they would put on to get my character to dance, and then we’d do a short little [improvisation]”, Hathaway said.
Anne Hathaway attends the world premiere of “The Idea of You” during the 2024 SXSW Conference and Festival at The Paramount Theatre on March 16, 2024 in Austin, Texas. CREDIT: Getty/Rick Kern/WireImage
The actor who got the part – Red, Whtie and Blue’s Nicholas Galitzine – chose an Alabama Shakes song for his audition.
“I heard Brittany [Howard]’s voice and I just started smiling. And he saw me smile, so he relaxed, and we just started dancing.
“Nobody was showing off. Nobody was trying to get the gig. We were just in a space dancing. I looked over and Michael Showalter, our director, was beaming. Spark!”
Per Deadline Hollywood, Lee is currently eyeing A-listers Jake Gyllenhaal and Anne Hathaway – who starred together in the 2010 rom-com Love & Other Drugs and in 2005’s Brokeback Mountain – as one couple.
Also being eyed to star as the second couple are Priscilla standout Cailee Spaeny and May December and Riverdale star Charles Melton. According to Deadline, “no deals are in place” at the moment and that Netflix and A24 are “ready to get the second season into production by late summer or fall.”
John Cleese has said he’s “surprisingly poor” despite being in showbusiness for five-decades, blaming his $20million divorce for him having to work into his eighties.
Cleese has been rather busy of late, with stage adaptations of both the Monty Python film Life Of Brian as well as Fawlty Towers in the works. He is also working on a musical version of A Fish Called Wanda, and recently hosted a programme on GB News called The Dinosaur Hour.
In a forthcoming interview with SagaMagazine, Cleese puts the costly end to his third marriage to Alyce Faye Eichelberger, an American psychotherapist, as one of the main reasons he is working so hard late in his life.
The couple split in 2008 after 16 years of marriage. Cleese travelled the world on ‘The Alimony Tour’ to raise the necessary money – $20million (£16million) – in the divorce settlement.
“Can you believe when I met her, I had a beautiful house in Holland Park and no mortgage and when I broke up with her, I had a flat in Sloane Square and a full mortgage? How they figured out she was worth $20m, I have no idea.”
However, he said he was past the negativity he had towards the situation. “I had to let go of the anger and what helped me was that it was so ridiculous, so absurd.”
John Cleese on January 10, 2019, in Dublin, Ireland. CREDIT: Getty/Photo by Artur Widak/NurPhoto via Getty Images
Cleese doesn’t own a car or property, having handed over the short lease of his flat to his current wife, Jennifer Wade, which made a “huge difference” to her.
“I never thought it was necessary to own a great deal,” he said. “The most important thing is to have enough money to have some really good food, buy clothes twice a year and have nice holidays.”
In February, Cleese responded to comments made by fellow former Monty Python member, Eric Idle, which have prompted an online dispute between the two.
Last week, Idle made comments on social media which criticised manager Holly Gilliam – also the daughter of Python co-founder Terry Gilliam – for the decreasing finances of the comedy troupe, formed in 1969.
Cleese has made it clear where he stands, posting on X: “I have worked with Holly for the last ten years, and I find her very efficient, clear-minded, hard-working, and pleasant to have dealings with”.
He continued: “Michael Palin has asked me to make it clear that he shares this opinion. Terry Gilliam is also in agreement with this.”
The online disagreement continued, with Idle and Cleese commenting about one another. When asked by an X user if the two remain close, Idle replied: “I haven’t seen Cleese for seven years.” A reply from a user expressing sadness over this prompted the actor to reply: “Why. It makes me happy.”
Now, Cleese has responded to the questions about their closeness saying: “We always loathed and despised each other, but it’s only recently that the truth has begun to emerge”.
The actor, who played Jay Cartwright in the hit comedy series, will reprise the role of Ben opposite Stacey Dooley, who will be making her West End debut as Jenny. The play made its debut in the West End in 2021 and has enjoyed various successful runs in different theatres since then, while also being taken on tour throughout the UK.
Buckley will appear in the play from May 25 to August 4 at London’s Gielgud Theatre as part of the show’s seventh West End season. The rest of the cast is yet to be announced.
“I’m so excited to be rejoining the cast of 2.22. It’s such a brilliant play and to be back in such a brilliant theatre,” Buckley said in a press release. “It will be great to be play Ben again and now all I need to do is make sure I remember the lines. Can’t wait to see everyone there.”
PRIORITY TICKETS ON SALE NOW!
And brand-new West End cast announced… Stacey Dooley will debut on stage as Jenny and James Buckley returns as Ben
If you've signed up for our pre-sale, you can book your tickets NOW through the link in your email. pic.twitter.com/t4qrjIgSRX
The actor, who played Jay Cartwright in the Channel 4 sitcom and its two film adaptations, told the Daily Mail that the characters wouldn’t be able to realistically behave the same way as they did in the original show.
“It was all justified because they were never the heroes,” Buckley said, referring to the antics of the sixth-former friendship group (via Lad Bible). “They were idiots and they got what they deserved.”
He continued: “That’s why it can’t come back – you can’t have men in their late thirties acting like they’re in sixth form and getting away with that stuff.
“I always get asked if I’d ever do more [episodes] and I said, ‘for no amount of money’ and that quote got run away.”
Buckley added: “I didn’t mean about money – it means more to me than money.”
“I got in touch with Damon Beasley, one of the co-creators of The Inbetweeners, and I said, ‘I heard that that is going ahead, congratulations,” he said. “And I know you guys are recasting, but if there’s another part, I’d love to come in and do a job for you’.
“He replied saying, ‘No, we want you to be Jay. Did your agent not tell you this? We need to see you tomorrow to talk to you about this and we’re going to audition a load of other kids at the time’.”
“If I’d never have sent that message and sort of hustled a little bit, I would’ve never turned up to the meeting the following day.”
“For the Government to choose not to make music safer for women is painfully disappointing, if sadly not surprising,” said the Independent Society of Musicians
The document described the industry as a “boys’ club” where sexual harassment and abuse are common, and the non-reporting of such incidents is high. Victims who do speak out struggle to be believed or may find their career ends as a consequence, it claimed.
The WEC stated that women in music still encounter limitations in opportunity, a lack of support and persistent unequal pay – with these said to be intensified for those facing intersectional barriers, particularly racial discrimination.
It said that female artists are “routinely undervalued and undermined, endure a focus on their physical appearance in a way that men are not subjected to, and have to work far harder to get the recognition their ability merits”.
Following the report, the WEC – a cross-party committee of MPs – has made “a series of strong and wide-ranging recommendations” and urged ministers to take legislative steps to amend the Equality Act.
This would ensure that freelance workers have the same protections from discrimination as employees, and would bring into force Section 14 to improve protections for people facing intersectional inequality.
A female sound engineer in a recording studio working on a track behind a glass window
The WEC also recommended that the UK government should legislate to impose a duty on employers to protect workers from sexual harassment by third parties, a proposal the government initially supported and then rejected last year.
It also called for an investment in diversity schemes by both the wider industry and government, especially for male-dominated areas such as A&R, sound engineering and production.
Additionally, the committee urged record labels to commit to regular publication of statistics on the diversity of their rosters. It said that all organisations with more than 100 employees should be required to publish data on the diversity of their workforce, as well as gender and ethnicity pay gaps.
Furthermore, since the report highlighted the use of NDAs that left victims of sexual harassment and abuse “threatened into silence”, the WEC recommended prohibiting their use in cases involving sexual abuse, sexual harassment or sexual misconduct, bullying or harassment, and discrimination relating to a protected characteristic. It has also recommended that the government should consider a retrospective moratorium on NDAs for those who have signed them relating to the issues outlined.
Now, the Government has responded to the report. Although its response said that “everyone should be able to work in the music industry without being subject to misogyny and discrimination”, the Department of Culture, Media and Sport has confirmed it won’t take any of the recommended actions.
In response to the news, the chief executive of the Independent Society of Musicians (ISM) Deborah Annetts said: ‘The Misogyny in Music report should have been a moment of immediate and lasting change for the music industry. The report laid bare the incredibly serious problems the sector has and the entirely reasonable steps Government should take the rectify them.
“For the Government to choose not to make music safer for women is painfully disappointing, if sadly not surprising. The brilliant women who make our music industry what it is deserve better.”
Meanwhile, Safe Gigs For Women added: “We are saddened to read that this government has rejected the Misogyny in Music report published in January by the Women and Equalities Committee. Sexual violence changes lives – inaction is inexcusable.”
We are saddened to read that this government has rejected the Misogyny in Music report published in January by the Women and Equalities Committee. Sexual violence changes lives – inaction is inexcusable. #endVAWG
— safegigs4women #saveourvenues (@safegigs4women) April 23, 2024
The Musicians’ Union has also voiced their disappointment at the government’s response. “The MU are deeply disappointed in the government’s response to the Misogyny In Music report and shocked that the select committee’s recommendations have been rejected in this way,” said their General Secretary Naomi Pohl.
“Women from across the music industry have bravely shared their experiences of misogyny, sexual harassment and abuse as well as other very real barriers they face whilst working in the industry,” she continued. “The government had an opportunity to listen and learn from those lived experiences and implement the changes that the select committee’s report recommended. Instead, the government decided that women’s safety is not a priority. Again, survivors are not being listened to”.
“The Equality Act is out of date and does not reflect how people see themselves or how they work, it needs updating as a matter of urgency. The industry needs increased funding to support targeted action to improve diversity and an improved legislative framework that reflects the way musicians work. The government has committed to neither”.
“We urge the government to rethink its position and implement the recommendations from the report”, she concluded.
Speaking as part of NME’s In Conversation series, the Norwegian alt-pop artist said her new LP was “extremely playful” and has seen her “working with people I admire.”
“We have a lot of fun. We feel like two little aliens walking around, and we have the same hunger for something exceptional,” she said when discussing her work with Rowlands. “I’m really grateful. I texted him one evening just saying, ‘Tom – puke vomit all over my song please’. And he did, for like four hours.
AURORA had collaborated with the dance duo before, recording guest vocals for their acclaimed 2019 album ‘No Geography‘, and told NME that year that she left them a little shook up when she got lost in the woods’ during a birthday party of Tom Rowlands’ daughter.
“I’m trying to not do that again. The one time I got lost in his garden it was his daughter’s birthday, and this time it was his birthday. I just love bothering him and his poor family on their birthdays – I never leave them alone. I gave him a cookie wrapped in a napkin that I found on the ground.”
‘What Happened To The Heart?’ is set for release on June 7 via Decca Records/Glassnote/Petroleum and marks her first full-length LP since her 2022 release, ‘The Gods We Can Touch’.
The album, released in 2004, was the band’s second studio album and peaked at Number 15 on the Billboard 200 and at Number 21 in the UK Albums Chart. The album’s singles included indie disco staples ‘Slow Hands’, ‘Evil’, alongside fan favourites ‘C’mere’ and ‘Narc’.
The record cemented the band’s success after the seminal debut ‘Turn On The Bright Lights’ and went on to become a classic of the era. It led to the band signing to a major label for the mainstream success of their third album ‘Our Love To Admire’.
The band will play the album in full for six shows in the UK in November, but before that, they will now play some European shows to celebrate the album’s 20th anniversary. The tour will kick off in Stockholm on October 19 before moving on to Copenhagen the following night and will finish with two shows in Amsterdam on October 29 and 30.
Pre-sale will begin at 10am CEST on April 24 exclusively through The Big House community. General sale will open on Friday (April 26), also at 10am.
Europe! We can't wait to return this October to celebrate the 20th anniversary of Antics with you all!
Pre-sale will run from 10am CEST on Wednesday 24 April, exclusively via The Big House.
OCTOBER
19 – Stockholm, Sweden, Cirkus
20 – Copenhagen, National Radio Koncerthuset
29 – Amsterdam, Paradiso
30 – Amsterdam, Paradiso
NOVEMBER 1 – Wolverhampton, The Halls
2 – Manchester, O2 Apollo
4 – Glasgow, Royal Concert Hall
5 – Newcastle, O2 City Hall
7 – Bristol, Beacon
8 – London, Alexandra Palace
The band’s drummer Sam Fogarino recently confirmed that he will not be joining the band on the road “for the time being” after having spinal surgery, which includes the ‘Antics’ anniversary dates.
The band also played ‘Antics’ in full at a special gig in Paris last year, months ahead of the 19th anniversary of that album. The show took place at the Philharmonie de Paris and saw the band air ‘A Time To Be So Small’ for the first time since 2007.
He continued: “It might not seem that much of a stretch for a band to play an album in sequence, but it really is. It’s sequenced for the record in a very intentional way, but performing it as such means going from first gear to fourth gear and vice versa.
“When we did those two shows, it really took some activating and getting used to – regardless of how many times you’ve played those songs before.”
Additionally, Interpol are set to to open for Smashing Pumpkins in Europe this summer. “We did some shows with them last year and they were a lot of fun,” Kessler told NME.
“We really try to feel it out each night per situation. I saw Smashing Pumpkins play when I was in high school, so it’s really great to be playing with them.”
Meanwhile, the band played the biggest show of their career at the weekend before a crowd of over 150,000 people. The New York band graced the huge Zócalo square in the city centre for the free show, which they had first announced earlier this month.
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The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data.
Functional cookies help to perform certain functionalities like sharing the content of the website on social media platforms, collect feedbacks, and other third-party features.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc.
Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads.
