Following the spectacular sellout success of the summer 2024 European leg of Coldplay’s record-breaking Music Of The Spheres World Tour, the band have announced six new shows at London’s Wembley Stadium and two at Hull’s Craven Park Stadium, for August 2025. These are the only UK/European cities where the band will perform next year.
Fans can get exclusive first access to tickets by ordering the band’s upcoming new album, Moon Music (landing October 4) from the official Coldplay UK or EU Stores – head to store.coldplay.com for more info and to purchase, before 11.59pm BST on Tuesday, September 24. All those who have already pre-ordered the album from the Coldplay UK or EU Store will automatically be eligible for the presale, which begins on Thursday, September 26 at 9am BST.
Fifty percent of the tickets for the Hull shows – the band’s first ever concerts in the city – will go to local fans (with HU, YO, DN or LN postcodes), via Ticketmaster on Thursday, September 26 at 6pm BST.
The general sale for both Wembley and Hull will begin at 9am BST on Friday, September 27.
The new dates are as follows:
AUGUST 2025
18 – Hull, Craven Park Stadium
19 – Hull, Craven Park Stadium
Pixies today share new single ‘Motoroller’, the fourth new song to be released from their anticipated new studio album The Night the Zombies Came, due for release on 25th October via BMG. Listen here. The single comes alongside the news that Pixies will return to the UK and Europe in April and May 2025 for a 20-date headline tour, including nine UK shows with two nights at London’s O2 Brixton Academy.
Following its debut on Steve Lamacq’s BBC Radio 6 Music show last night, the dynamic ‘Motoroller’ follows frontman and principle songwriter Black Francis on a scooter ride across Berlin. Speaking on the track, Francis says:
“This is one of those kinds of songs where there’s little threads you can follow and they take you somewhere. But they’re not required for the experience. You can just start fishing around in the lyrics, and maybe you won’t find exactly what the story is, but you’ll find a story related to the city of Berlin. So just have fun with the clues that are there.”
‘Motoroller’ follows the previously released tracks ‘Oyster Beds’, ‘You’re So Impatient’, ‘Que Sera, Sera’ and ‘Chicken’ – met by widespread acclaim, with The Times describing it as “Dark and dangerous” in their Essential Tracks and Daily Telegraph as a “new, darker direction” in their Songs of The Week, whilst NME hailed it as “haunting”, MOJO as “delightfully ghoulish” and CLASH proclaimed it “Pixies at their blood-curdling best.”
Pixies will kick off their 2025 UK and European headline tour in Utrecht, Netherlands on 25th April, with performances across Belgium, Germany, France, Spain and Portugal before arriving at the P&J Arena in Aberdeen on 13th May. The tour continues with nine dates across the UK at O2 Academy Edinburgh, two nights at London’s O2 Brixton Academy, shows at O2 Academy, Leeds, Academy Birmingham, Cardiff’s Utilita Arena and Newcastle City Hall, before concluding at O2 Apollo Manchester on 24th May.
The news arrives after Pixies wowed UK fans in August. Their mainstage performance at London’s All Points East was described as “raucous” by Rolling Stone UK after their sold out Glasgow Academy show was tipped “a full-on head rush of classics” by the Scottish Sun and “as relevant in 2024 as they were over 35 years ago” by Glasgow World.
Fans can pre-order the album for access to presale tickets here, beginning at 9am BST, Wednesday 18th September, and on general sale from 9am BST, Friday 20th September here.
35 years since their groundbreaking Platinum-certified album Doolittle catapulted the band into the UK Top Ten, and 20 years since their celebrated reformation at Coachella, Pixies are deep into their second act, and in the midst of a creative purple patch.
The Night the Zombies Came is Pixies’ tenth album, if you count their classic 1987 4AD mini LP Come On Pilgrim, and first new music since 2022’s acclaimed Doggerel LP. 13 new songs that find Pixies looking ahead to the most cinematic record of their career.
Druidism, apocalyptic shopping malls, mediaeval themed restaurants, 12th century poetic form, surf rock, gargoyles, bog people, and the distinctive dry drum sound of 1970s era Fleetwood Mac are just some of the disparate wonders that inform the new songs.
For the new album recording sessions the band returned to work with producer Tom Dalgety, who drummer David Lovering refers to as “a fifth Pixie” after producing 2016’s Head Carrier, 2019’s Beneath the Eyrie and 2022’s Doggerel. Early on in the recording process at Guilford Sound studio in Vermont, the band noticed the new songs were dividing into two camps: what they came to call the “Dust Bowl Songs” – country-tinged, ballad-esque numbers such as ‘Primrose’ and ‘Mercy Me’, and on the other side, the album’s furious punk numbers such as ‘You’re So Impatient’ and ‘Oyster Beds’. Only ‘Jane (The Night the Zombies Came)’ keeps its feet in both camps — reminiscent of early 60s Phil Spector, the band hitting the sweet spot between mushy and abrasive, it’s a track that Black Francis allegedly likened to being chased by a swarm of bees.
The Night the Zombies Came sessions also saw Pixies welcoming new bass player Emma Richardson (Band Of Skulls) to the line up; the first British band member to join the group. There’s also an expanded role for guitarist Joey Santiago. After contributing his first-ever Pixies lyrics on Doggerel, for the new record Santiago wrote the words to ‘Hypnotised’ by completing a complex lyrical riddle of sorts, known as a sestina.
Looking ahead, Pixies will head for New Zealand and Australia in November for stadium gigs with Pearl Jam, closing what’s set to be a monumental year for one of the world’s most influential, revered and deeply adored bands, before embarking on their UK and European headline tour in Spring 2025.
The Night the Zombies Came is released on 25 October via BMG on black vinyl, CD, digital download and on streaming platforms. A crystal clear and red smoke LP will be available at HMV and independent record shops, as well as a limited edition pearlescent vinyl available from Blood Records. A crystal clear and violet smoke LP plus merchandise bundles will be available from the official Pixies store here.
The Night the Zombies Came Tracklisting
1 Primrose
2 You’re So Impatient
3 Jane (The Night the Zombies Came)
4 Chicken
5 Hypnotised
6 Johnny Good Man
7 Motoroller
8 I Hear You Mary
9 Oyster Beds
10 Mercy Me
11 Ernest Evans
12 Kings of the Prairie
13 The Vegas Suite
2025 UK and European Headline Tour
April 25th – TivoliVredenburg, Utrecht
April 26th – Lotto Arena, Antwerp
April 28th – Oosterport, Groningen
April 29th – 013, Tilburg
May 1st – Tempodrom, Berlin
May 2nd – Palladium, Cologne
May 3rd – TonHalle, Munich
May 6th – Arkea Arena, Bordeaux
May 7th – Zenith, Nantes
May 9th – Palacio de los Deportes de Granada, Granada
May 10th – Sagres Campo Pequeno, Lisbon
May 13th – P&J Arena, Aberdeen
May 14th – O2 Academy, Edinburgh
May 16th – O2 Brixton Academy, London
May 17th – O2 Brixton Academy, London
May 19th – O2 Academy, Leeds
May 20th – Academy, Birmingham
May 21st – Utilita Arena, Cardiff
May 23rd – O2 City Hall, Newcastle
May 24th – O2 Apollo, Manchester
Following the reveal of new single ‘He’s My Man’, Luvcat has today announced a new headline shows in Manchester, Brighton and London for November 2024. Tickets are on sale at 10am on Wednesday 18th September, available here.
Alongside this, Luvcat has been added to the line-up for Live At Leeds, whilst the London show forms part of the acclaimed Great Escape First Fifty series.
A murder ballad about a bored housewife slowly poisoning her husband with arsenic, ‘He’s My Man’ is a cinematic follow-up to Luvcat’s debut release, ‘Matador’, which has seen snowballing popularity since coming out earlier this year and marks the arrival of an artist with big plans for the year ahead.
“I guess the crux of the song is about how love often goes hand in hand with obsession,” Luvcat says of the track. “It wasn’t supposed to be the second single but a video of us playing the song drunkenly one night in soho went mad online so we had to rush a recording out with a twisted music video to match.”
Raised in Liverpool but made somewhere between the South London pub circuit and the underground clubs of Paris, Luvcat is a project which sees generation-spanning influences [ref. her The Cure-inspired moniker] coalescing with noirish mystique, twisted romance and chic à la parisienne aesthetics. The live ensemble is completed by a band of close friends that Luvcat has met along her journey thus far, each of whom leave their own mark on the project’s musical output.
From the first moment that candid footage of Luvcat’s early pub shows found its way online, there was a palpable sense that something of note was brewing here.
Once inaugural single ‘Matador’ officially entered the world on the final day of May 2024, the organic, cultish community cultivating around the project were already filling grassroots venues on both sides of the UK’s North-South divide. Luvcat’s recent show at Hackney’s Paper Dress Vintage sold out in 4 minutes and hit capacity before being threatened with closure due to the volume of bodies [including not one, but two of her ex-lovers] sneaking in through the back door for a glimpse of the performance.
This summer, Luvcat sold out a headline performance at Liverpool’s Kazimier Garden (also in a matter of minutes) and made her London festival debut at All Points East. October will see her returning to Paris – the city of Luvcat’s first ever show – for Supersonic, before a spot at Tokyo’s Rockin’on Sonic Festival comes in January, where she will share the stage with Pulp, St Vincent and Primal Scream. More show announcements, both headline and support, are arriving in the near future.
Listeners of Radio 1 in recent weeks (where ‘Matador’ has seen regular airtime as introducing tune of week) and BBC 6music (where Huw Stephens, Lauren Laverne and Emily Pilbeam have supported) will already be familiar with the rumour that Luvcat took an early leave from education to run away with the circus. This was to be a sign of things to come in regards to the headstrong sense of adventure which saw her touring with The Waterboys as a teenager and – in another chapter entirely – took her to the velvet-upholstered hotel suites of Paris, adorned with forays to the Moulin Rouge and a short stop in the back of a Parisian Police car.
Made in Korea: The K-Pop Experience is a six-part reality show following five British trainees over 100 days as they debut as a Korean-pop (K-pop) idol boy group called Dear Alice. In collaboration with SM Entertainment, a K-pop powerhouse, the show will introduce the behind-the-scenes of making a K-pop idol through an immersive training system.
Showing a glimpse of the lives of K-pop trainees, the first episode introduces K-pop as a multi-billion global phenomenon, stating: “Six of the top 20 best-selling artists in the world were K-pop and 90 billion streams were by K-pop idols.”
K-pop is becoming increasingly popular in the UK. Girl group Aespa and boy group BTS have sold out shows in the country’s largest arenas.
In 2023, the group Blackpink became the first Korean band to headline a UK festival at BST Hyde Park, where they played to an audience of 65,000. They were also awarded honorary MBEs by the king for their role in encouraging young people to engage with the global UN climate change conference at COP26 in Glasgow 2021.
There is certainly an appetite for shows about K-pop for western audiences. Netflix have released their own version of Made in Korea, Pop Star Academy: Katseye.
The docuseries follows 20 girls from Japan, South Korea, Australia and the UK going through a year of K-pop training to become the group Kasteye. It’s a collaboration between the K-pop label Hybe and US label Geffen (a subsidiary of Universal).
Generally speaking, K-pop is characterised by catchy and lively melodies and highly choreographed dance routines in perfect unison and fancy outfits. Inspired by various pop music genres – including but not limited to electronic dance, hip hop, and R&B – the genre became distinctive from the nation’s traditional music, especially after a handful of pioneers began producing idol groups in the 1990s.
I’m South Korean and I’m studying cultural industries, so it’s interesting for me to see westernerss becoming K-pop-inspired idol groups. It’s a famously competitive industry, which is already oversaturated with hopeful K-idols. Considering that the domestic market is small and highly saturated, their success will be a breakthrough for SM Entertainment and HYBE, as well as other K-pop companies, proving whether they can continue to grow beyond east Asia.
The production and delivery of this popular music genre have become more international than ever in recent years, with hundreds of choreographers, composers and producers worldwide contribute to creating K-pop songs and performances. In contrast, K-pop performers have until recently been predominantly Korean. But as the new shows demonstrate, this too is changing.
K-pop companies have hosted auditions outside the country to recruit foreign trainees to make their idols appeal to global audiences. Huge global music corporations like Sony, Universal Music Group and Virgin Records have also got in on the game, signing distribution contracts with major K-pop idols to promote their music in foreign markets.
This search isn’t because there is a lack of willing hopefuls in Korea. There were around an estimated 800 trainees waiting to debut in 2022. But Korea’s population is only around 50 million and record companies want to appeal beyond the domestic market, so they are hoping recruiting non-Korean stars will help do that.
Music agencies in the west tend to find new artists who are already gifted and then largely serve as intermediaries arranging things like tours, marketing and artists’ wider schedules. However, major K-pop companies have developed a unique system of finding and launching new artists. This involves hosting auditions with a competition of at least 1,000 to 1 odds. The winners then undergo years of of acting, vocal, and dance training before debuting.
To make the vocals flawless and the dance moves precise, trainees, known as yeonseupsaeng (연습생), are expected to spend up to 17 hours per day practising performances and training for several years – although they aren’t guaranteed to become professional artists. Even if they do become successful, their private lives – including their dating lives – are strictly controlled.
It is no exaggeration to say that the industry is labour-intensive as well as capital-intensive, built on the blood, sweat and tears of yeonseupsaeng.
The first episode of Made in Korea ends with SM’s director Hee Jun Yoon’s critique of the Britons’ first performance. It’s difficult viewing for those unfamiliar with the harsh world of K-pop. To borrow the words of BBC’s unscripted content head, Kate Phillips, it makes “Simon Cowell look like Mary Poppins.”
Some might question the prefix “K-” being used to describe these international groups but the genre will remain decidedly Korean. It is Korean companies which will lead the production mechanisms and the domestic market will continue to serve as the testbed for new artists. But the success of Dear Alice and Katseye is important if the genre is to survive and continue to grow beyond Korea.
In a surprising turn of events, Leeds-based guitar band English Teacher won the 2024 Mercury Prize for their debut album This Could Be Texas, marking a triumph for indie rock.
This four-piece group, formed in 2020 while studying at Leeds Conservatoire, have quickly risen to prominence on the UK music scene, capturing the hearts of listeners and critics alike with their distinctive sound and northern charm.
English Teacher’s music sets them apart from their post-punk contemporaries. Their sound is a product of diverse influences including The Beatles’ melodic sensibilities, Siouxsie and the Banshees’ gothic allure, and Amy Winehouse’s raw emotion. A unique blend of surrealism and social commentary in their lyrics plus subtle musical experimentation offers a fresh take on the classic guitar-band format.
This innovative approach has not gone unnoticed, with the Mercury Prize judges praising the album for its creativity and personality. Lily Fontaine, the band’s lead vocalist, expressed their astonishment at winning the prestigious award: “It’s surreal, feels like a dream – we must thank [producer] Marta Salgoni. She made so many great sounds.”
Salgoni’s expertise in crafting intricate soundscapes contributed to the album’s “subtle integration of musical experimentation”, according to the judges.
Fontaine’s reaction reflected the band’s genuine surprise at this high-profile recognition of their artistic endeavours. English Teacher’s success story is intertwined with their signing to Island Records, a major label – home to the likes of Ariana Grande, Drake and fellow nominees The Last Dinner Party – that played a crucial role in launching their debut album.
This collaboration has not only birthed a prize-winning album but reignited discussions about the vitality of indie rock in an era dominated by algorithmic playlists and ephemeral viral hits.
The victory underscores indie rock’s enduring appeal and potential impact on the contemporary music scene. As the genre continues to evolve, bands like English Teacher push boundaries and challenge conventions, creating music that resonates with audiences and critics alike.
The band’s success also highlights the importance of regional music scenes in nurturing talent. By honouring figures from the Leeds music scene during their acceptance speech, English Teacher acknowledged the supportive ecosystem that helped propel them to national recognition. The band is the first act from outside London to win the prize for a decade.
The 2024 Mercury Prize ceremony also marked a significant shift in the award’s presentation format. The event was held in the more intimate space of Abbey Road Studios for the first time, moving away from its traditional venue at the Hammersmith Apollo.
This change, and the decision to broadcast the ceremony on BBC Four, reflect the Mercury Prize’s adaptation to changing times and its commitment to profiling new music for a broader audience. As Jo Twist, chief-executive of the British Phonographic Industry (BPI) which oversees the Mercury Prize, told MusicWeek:
For the 2024 Mercury Prize we will work imaginatively with the BBC to deliver a premium programme of music content and digital engagement that will, as ever, benefit all 12 artists in reaching a wider audience, providing an important platform for their evolving career and musical journey.
The move to a more intimate setting at Abbey Road, and the focus on recorded performances, may have enhanced the prize’s ability to showcase the nominated artists’ music in a more direct and accessible manner.
But, while English Teacher’s win is undoubtedly a cause for celebration, it also sheds light on the challenges bands face in today’s music industry. The stark reality is that it’s common for these accomplishments to coexist with being on universal credit, living at home, or sofa surfing. It’s a precarious business.
On the upside, as English Teacher bask in the glow of their £25,000 award, the music world eagerly anticipates their next moves.
Having topped Amazon’s vinyl pre-order sales, completed a Piano Room session for Radio 2, and recharted her life story with a Classic Pop cover and a feature in The Times, anticipation for the October 4th release of Alison Moyet’s ‘Key’ album is at a high. Now Alison pushes that momentum forward as she shares the new ‘Key’ version of one of her biggest solo hits, ‘Love Resurrection’.
The new ‘Key’ version of ‘Love Resurrection’ streamlines the ‘80s produced original with a punchy, live energy driven by Alison’s distinctive and powerful vocals. Evolved through decades of performance and compromising none of its initial spark, the song resonates keenly today with lyrics as relevant as they ever were.
Alison says, “‘Love Resurrection’ is indeed a key track being the first record I released as a solo artist, then with no expectation of how it would land. The ‘Key’ album version is the one we take to the stage and has become a set highlight, a shared moment of determined and exuberant connection. It feels more pertinent now than it ever did.”
‘Love Resurrection’ became Alison’s first UK Top 10 hit when it was released in the summer of 1984. Together with another Top 10 peak for the follow-up ‘All Cried Out’, It positioned Alison for much greater success later that year with her #1 solo debut album ‘Alf’. Another UK #1 album, four more Top 10 hits, two more BRIT Awards and a Grammy nomination all followed.
Alison further reflects on her experiences around the time of ‘Love Resurrection’ in the fourth episode of her hit podcast series ’40 Moyet Moments’. Hosted by Steve Coats-Dennis, it has reached #1 on Apple Podcasts UK (Music and Music Interviews), Spotify UK (Music), Apple Podcasts Australia (Music Interviews) and Apple Podcasts Ireland (Music). Listen to the podcast HERE.
‘Key’ is available to pre-order HERE. Alison’s official store offers an array of physical formats, while album bundles can also include a new phonetic t-shirt design and a signed art print. There are also retailer-specific double-vinyl formats available from Amazon, HMV, The Sound of Vinyl and select indie stores.
Alison will also take another deep dive into her remarkable story with two sold out ‘In Conversation’ events and album signings at London’s Rough Trade East (October 4th) and Brighton’s Resident (October 8th) with her friend, the renowned writer Amy Raphael.
2025 will see Alison head out on a long-awaited world tour. All 25 UK and Ireland shows sold-out in days, while sales across all European shows are also in high demand. She recently extended the tour with an additional leg covering Australia and New Zealand, which will be her first shows in those countries since 2017. Her tour dates now run as below, tickets for some dates remain available HERE.
UK AND IRELAND
16 Feb – Dublin, 3Olympia (SOLD OUT)
17 Feb – Belfast, Waterfront Hall (SOLD OUT)
20 Feb – York, Barbican (SOLD OUT)
21 Feb – Manchester, Bridgewater Hall (SOLD OUT)
22 Feb – Nottingham, Royal Concert Hall (SOLD OUT)
24 Feb – Liverpool, Philharmonic Hall (SOLD OUT)
25 Feb – Stoke-on-Trent, Victoria Hall (SOLD OUT)
27 Feb – Birmingham, Symphony Hall (SOLD OUT)
28 Feb – Cambridge, Corn Exchange (SOLD OUT)
1 Mar – Ipswich, Regent Theatre (SOLD OUT)
3 Mar – Sheffield, City Hall (SOLD OUT)
4 Mar – Stockton, Globe (SOLD OUT)
6 Mar – Gateshead, The Glasshouse (SOLD OUT)
7 Mar – Buxton, Opera House (SOLD OUT)
8 Mar – Reading, Hexagon (SOLD OUT)
10 Mar – Brighton, Dome (SOLD OUT)
11 Mar – London, Palladium (SOLD OUT)
13 Mar – Bournemouth, Pavilion Theatre (SOLD OUT)
14 Mar – Swansea, Arena (SOLD OUT)
15 Mar – Bath, Forum (SOLD OUT)
17 Mar – Southend, Cliffs Pavilion (SOLD OUT)
18 Mar – Aylesbury, Waterside Theatre (SOLD OUT)
20 Mar – Edinburgh, Usher Hall (SOLD OUT)
21 Mar – Glasgow, Royal Concert Hall (SOLD OUT)
22 Mar – Aberdeen, Music Hall (SOLD OUT)
EUROPE
31 Mar – Oslo, Norway, Sentrum Scene
1 Apr – Stockholm, Sweden, Göta Lejon
3 Apr – Hamburg, Germany, Grosse Freiheit 36
5 Apr – Antwerp, Belgium, De Roma (SOLD OUT)
7 Apr – Amsterdam, Netherlands, Paradiso (SOLD OUT)
8 Apr – Groningen, Netherlands, De Oosterpoort
9 Apr – Eindhoven, Netherlands, Muziekgebouw Frits Philips
11 Apr – Cologne, Germany, Carlswerk Victoria
13 Apr – Frankfurt Germany, Batschkapp
14 Apr – Berlin, Germany, Huxleys Neue Welt
15 Apr – Copenhagen, Denmark, DR Koncerthuset (SOLD OUT)
AUSTRALIA AND NEW ZEALAND
21 May – Auckland, Town Hall
24 May – Wellington, Michael Fowler Centre
26 May – Christchurch, Isaac Theatre Royal
29 May – Brisbane, QPAC Concert Hall
31 May – Sydney, Darling Harbour Theatre
1 Jun – Melbourne, Plenary
4 Jun – Perth, Riverside Theatre
Linkin Park — Mike Shinoda, Brad Delson, Phoenix, Joe Hahn, alongside new members Emily Armstrong [of critically acclaimed band Dead Sara] as co-vocalist and Colin Brittain [songwriter/producer for G Flip, Illenium, One OK Rock] as drummer—share their first brand new music in seven years.
The iconic band shared a deluge of treats for fans: a new single and video, for “The Emptiness Machine,” plus a global livestream performance, and the launch of 6 upcoming arena shows in Los Angeles, New York, Hamburg, London, Seoul, and Bogota as part of the From Zero World Tour. LP Underground fan club exclusive pre-sales start September 6 and general on-sales September 7. Go to LinkinPark.com for more info.
These surprises herald the arrival of Linkin Park’s first album since 2017, FROM ZERO, on November 15. Pre-order/Pre-save HERE via Warner Records.
The band joined long-time friend and Apple Music host Zane Lowe for an in-depth candid conversation about the incredible legacy of Linkin Park, the 7-year long journey to new music and their excitement for the future.
Without expectations, Shinoda, Delson, Farrell, and Hahn quietly began meeting up again in recent years. Rather than “trying to restart the band,” their instinct was to simply spend more time together, and reconnect with the creativity and camaraderie that has been at the core of their friendship since college. During this time, they invited various friends and cohorts to join them in the studio; among the guests, they found a special kinship with Armstong and Brittain. A natural chemistry drew these musicians back into its gravitational pull as they logged more and more hours in the studio. It was the sound of lifelong musicians rediscovering the uncontainable energy of a new beginning once again. Over this season, FROM ZERO was born.
About the new era, Shinoda stated, “Before Linkin Park, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what Linkin Park has become over the years, and excited about the journey ahead.”
Right out of the gate, “The Emptiness Machine” channels the DNA of Linkin Park, harnessing the band’s explosive energy and retaining the hallmarks of their instantly identifiable and inimitable sound. A chameleonic and catchy anthem, Shinoda’s hypnotic melodies hand off to Armstrong’s blistering chorus, over distorted riffs and head-nodding drums.
Shinoda elaborated, “The more we worked with Emily and Colin, the more we enjoyed their world-class talents, their company, and the things we created. We feel really empowered with this new lineup and the vibrant and energized new music we’ve made together. We’re weaving together the sonic touchpoints we’ve been known for and still exploring new ones.”
Ultimately, with FROM ZERO, the band is looking to harness the purest energy of their past, present, and future. The new era has officially begun.
FROM ZERO WORLD TOUR 2024
September 11, 2024 | Kia Forum – Los Angeles, CA
September 16, 2024 | Barclays Center – New York, NY
September 22, 2024 | Barclays Arena – Hamburg, Germany
September 24, 2024 | The O2 – London, UK
September 28, 2024 | INSPIRE Arena – Seoul, South Korea
November 11, 2024 | Coliseo Medplus – Bogota, Colombia
Oasis Noel and Liam 2005 - Credit: Will Fresch is licensed under CC BY-SA 2.0.
By Glenn Fosbraey – University of Winchester
The worst-kept secret in the music world is out: Oasis are back. And the only real surprise is that it’s taken so long for it to happen. Since there have been bands, bands have been breaking up. And since bands have been breaking up, bands have been reforming.
Some bands, like The Go-Go’s have broken up and reformed so many times that it’s hard to keep count. Some split and get back together before anyone knows they’ve even separated, like The Verve, who separated with no intention of reforming in 1995 but were back in the studio only weeks later.
And some take decades to get back together, like the 60s band The Hustlers, who reformed 50 years after splitting upon discovering they had been misinformed about the death of their drummer.
But most reunions have simply led to healthy bank balances for the artists and a chance to relive the good old days for the fans.
For boy or girl bands, breaking up and reuniting is a pretty straightforward process, honed to perfection over the years by Take That, Boyzone, Steps, Girls Aloud, 5ive, Blue, Spice Girls, All Saints, Busted and the Sugababes (and with Little Mix, One Direction, and Fifth Harmony currently midway through the process). The formula is simple.
A band’s success starts to wane.
The most popular member – let’s call them band member A – thinks (or is told) they can do better on their own and leaves to begin a solo career.
Band member A’s first single does well, and the band they’ve left (if they’ve decided to carry on) also have success with their next release as fans rally round the remaining members.
Maybe they’ll even point to the fact that each of Liam Gallagher’s solo albums has spent less time on the album charts than the one before it. Or that Noel Gallagher’s High Flying Birds albums have done exactly the same thing.
Or that Noel’s latest, Council Skies, is his first album to miss out on the number one spot and exited the charts altogether after eight weeks (compared with the band’s self-titled debut, which hung around for well over a year).
Whatever the reason for their return, Oasis fans won’t care. To them, it’s not the why that’s important, but the fact it’s happening. Time will tell if the reuniting of the brothers Gallagher is going to taint their legacy or enhance it.
And it may well be, as with The Verve, Sex Pistols and The Velvet Underground that even after reforming, the issues that caused the breakup in the first place will resurface and finish them off once and for all.
The knives are already out in the media, with detractors predicting a disaster, but let’s not forget the Telegraph piece from last year, which urged Blur not to get back together as “reunions are always terrible” only for the same newspaper to later call their comeback a triumph. Oasis fans will have their fingers crossed that the brothers Gallagher can pull it off too – and keep their newly rekindled relationship intact.
Following rave reviews for their recent headline performance at Glastonbury, Wilderness and Bestival and a jaw-dropping new live set up debuted on a limited run UK/EU tour earlier this year, today (23rd August) dance pioneers Faithless announce a 21-date live UK/EU tour.
This November the dance collective will hit the road for 21 dates across the UK and Europe, including a homecoming show at London’s O2 Academy Brixton, and further shows in Edinburgh, Belfast, Manchester, Antwerp, Zurich, Milan, Vienna, Amsterdam, and Copenhagen, amongst others.
Earlier this year the band announced their much-anticipated return to the live arena with their first run of shows in eight years, taking in London’s iconic Roundhouse, and further dates in Belgium, Luxembourg, Amsterdam, and not to mention a string of headline festival performances. With Sister Bliss at the helm alongside a full-live 7-piece band, Faithless proved they are very much a force to be reckoned with as they traversed through music old and new, delivering world class production and unforgettable scenes.
Since then, the band have confirmed plans for their eighth studio album, ‘Champion Sound’, and released their first single ‘Find A Way’ – signature Faithless in all their glory – infectious classic house, piano loops and peak-time beats.
It’s been almost three decades since Faithless made their debut, in that time the iconic UK act have left an indelible mark on the dance music landscape. One of the most influential electronic acts of the 21st century, they’ve sold over 20 million albums including seventeen Top 40 singles, six Top 10 albums (three at #1), and amassed over a billion streams to date.
The band’s cultural significance is unparalleled – leading the charge of dance acts cutting through on a global level, and demonstrating electronic music deserves its place on the main stages.
Tickets go on general sale at 10am on Friday 30th August and will be available from www.gigsandtours.com / www.ticketmaster.co.uk
Champion Sound UK/EU Tour dates 2024:
0/11 – O2 Academy, Edinburgh, UK
02/11 – Telegraph Building, Belfast, UK
06/11 – O2 City Hall, Newcastle, UK
07/11 – O2 Academy, Birmingham, UK
08/11 – Document, Bristol, UK
09/11 – The Brighton Centre, Brighton, UK
14/11 – O2 Academy Brixton, London, UK
15/11 – O2 Victoria Warehouse, Manchester, UK
21/11 – Mitsubishi Electric Hall (MEH), Düsseldorf, DE
22/11 – Lotto, Antwerp, BE
23/11 – Stadhalle, Offenbach, DE
28/11 – Tonhalle, Munich, DE
29/11 – Halle 622, Zurich, CH
30/11 – Fabrique, Milan, IT
03/12 – A2, Wroclaw, PL
04/12 – Gasometer, Vienna, AT
06/12 – Barba Negra, Budapest, HU
07/12 – Steel Arena, Kosice, SK
08/12 – Forum Karlin, Prague, CZ
12/12 – AFAS Live, Amsterdam, NL
14/12 – Poolen, Copenhagen, DK
The Wild Fields Festival at Earlham Park in Norwich was truly an unforgettable experience! This two-day event was a masterclass in curating music, experiences, and community spirit. There was a palpable sense of camaraderie among the crowd, who represented a diverse mix of ages and backgrounds. It was heartening to see so many people come together to enjoy the music and share in the collective joy of the event.
The lineup was impressively eclectic, featuring a wide range of acts that catered to diverse tastes. Friday kicked off with a fantastic day of performances, culminating in an unforgettable headline set by Ezra Collective, which saw the band join the crowd for an up-close performance. Their vibrant and energetic performance truly incapsulated the tone for the festival.
Ezra Collective join the crowd at Wild Fields 2024 – Credit Louise Clegg
Earlier in the day, the main stage featured a diverse array of artists, including Sam Eagle, Nectar Woode, and Yazmin Lacey. Jalen Ngonda followed, with Nubya Garcia and Zambian singer and rapper Sampa the Great with her incredible high-energy dancers rounding out a stellar lineup. Each performance was a highlight in its own right, with artists delivering memorable sets that kept the crowd engaged and entertained.
The Climate Live UK Bus alternated between the main stage, meaning the audience didn’t have to miss a single act. This was a refreshing approach I have not seen at any festival this year. Climate Live UK offered a unique stage set on top of a bright pink open-top double decker bus. Zamani Fitri, a talented local singer-songwriter fresh from his performance at Latitude Festival, takes the stage, exuding confidence that comes from a lifetime of growing up in the festival scene. The indie pop sibling duo Esme Emerson followed with
Saturday continued the festival’s high energy with incredible performances on the main stage. The day began with Chartreuse setting a lively tone, followed by Gabby Rivers, whose upbeat indie/alternative originals captivated the crowd. Jeshi brought his uniquely dark ambient folk-pop with hauntingly beautiful lyrics to the festival next, before Priya Ragu, the Tamil Swiss singer and rapper delivered a lively and ambitious blend of R&B, rap, and Tamil folk. Squid kept the momentum going with their dynamic performance, and Brit Award winner and Mercury Music Prize nominee Kae Tempest closed the day with an intense and powerful set.
Kae Tempest on the main stage – Photo Credit: Steven Spicer
The festival reached its peak with SBTRKT, who ended the festival on a high note with a memorable blend of garage, house and experimental pop that had everyone dancing until the very end.
SBTRKT on the main stage – Photo Credit: Steven Spicer
The Climate Live UK Bus stage also offered an impressive lineup on Saturday. Highlights included Zo Lief, who set the tone early in the day, and Arthur Black, who brought their unique sound to the festival. Sleeps Cousin & Lieu delivered a captivating performance in the afternoon, while LFAY provided a dynamic set as the day drew to a close. Alice-Lily wrapped up the stage with a compelling evening performance that left a lasting impression.
Earlham Park served as a stunning backdrop for the festival. The picturesque setting added a touch of serenity to the energetic atmosphere, and the site was well-organised with clear layouts and easy access to stages, food stalls, and activities. The sun shining down on the park only enhanced the high vibes and added to the overall experience.
Wild Fields Festival 2024 was an inspiring and uplifting experience that left me eagerly anticipating next year’s event. Ben Streets (no stranger to Pop Scoop from his Coasts days) has successfully crafted a unique and eclectic festival that offers something for everyone. If you’re in search of a festival that blends great music, one-of-a-kind experiences, and a strong sense of community — mark your calendars for Wild Fields 2025!
