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Bruise Control – ‘Bruise Control’ (Republic Of Music)

Bruise Control – ‘Bruise Control’ (Republic Of Music)

Always a pleasure and never a chore to hear bands break through the underground and continue to grow organically and get better and better. One of those bands has to be Bruise Control from the North West of England. This self-titled EP is a jagged, physical, Emotional document of modern punk rock and counter culture born of who and what they are and channelled perfectly through the music and songwriting. It can be exhilarating, joyful and angry all at the same time, but above all its the quality of the songs that these guys create that carries them through.

Bruise Control explore give zero fucks and conveys perfectly their feelings on what’s going on in the world they live in, which translates well across many cities, countries and no doubt continents. In a world where everything is for sale at a price that seems relatively cheap, and what you get for your small investment is a band who are currently on fire and making some of the best music around, that is a fact.

Opener ‘Be Like You‘ is the perfect opener, full of excitement, no easing you in more, blowing off steam with your mates and kicking the living shit out of your speakers like it’s going out of fashion. The song mourns the erosion of creative communities as cities are stripped of character and sold to the highest bidder, driven by explosive rhythms and biting urgency. A super strong opener that sets the tone perfectly.

Not wanting to be a Debbie Downer, but the sense of hopelessness in some of the subject matter is juxtaposed with the brightness of the energy spilling out of the instruments being hit. ‘Gone To Ground’, ‘If You’re Not Mine’, and ‘Spinners Mill’ channel the grinding frustration of daily life, rising rents, stretched relationships, emotional labour and the quiet guilt of struggling to stay afloat while wanting to help others. The energy and excitement captured cannot be overstated. The band are in the moment and on superb form.

The Eps final offering, ‘Jumping Ship’, feels like the release of all that pent up anxst and emotion, and the fact you’re playing this is that very release from real life you need. Recharge and go again whilst disappearing in some awesome music that we all need in life and something very hard for bands to capture, but Bruise Control seem to have hit the pocket where they just get ‘it’ and are that very release with the tunes to back it all up. Live, they manage to deliver the energy these songs demand. It can be brutal, physical and relentless at times, but boy does it feel good and perfectly displayed on side C with th epair of live tracks.

Get hold of this before they’re all gone, and you have to sell a kidney to pick one up and catch them live if you can. Oh, and the vinyl has a whopping extra five songs on side C (yeah, I know side B for Bruise and C for Control, do keep up). Less “produced”, it’s more of the same, like standing in on a live rehersal ‘Nostalgia’ is like a barking rabid dog. A couple of live tracks that give you a flavour of what they deliver live. ‘Bruise Control’ and ‘Dead On Arrival’ (both off their first EP), No More’ sounds like a row in a kebab shop at midnight, and those guitars sound sharp as fuck, it’s all about the energy and pace that delivers in spades. Then we get ‘Left Behind’, the single version, not the EP version off side B, to see us out for what might just be the independent release of the year right here, right now. Bruise Control! Bosh! ave it, buy or be left behind.

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Dinked edition with signed poster from here

CONVERGE – ‘Love Is Not Enough’ (Epitaph Records)

CONVERGE – ‘Love Is Not Enough’ (Epitaph Records)

Something of a palate cleanser is the new album from Converge. Not really knowing what to expect, I turned the stereo up, poured a cold one, and let the music wash over me. More of a tidal wave hitting me full force than washing over me, to be honest, as the metallic hardcore is like being hit in the face with a speeding train, then repeatedly hit with a cricket bat and feeling pleased with myself for the experience.

The title track kicks things off as the listener gets pinned to the wall, and not unlike a salivating big motherfuckin’ rabid dog frothing in your face, you feel the warm breath as the lyrics are spat out. This is not going to be a comfortable listen, but it does grab one’s attention.

This is their eleventh album, in their 35th year as a band, which is remarkable to be fair and to come out with something so intense and captivating as the album opens up the intensity, if anything increases. ‘To Feel Something’ certainly delivers what it says on the tin, and if this doesn’t move you one way or the other, then I suggest a visit to the doctor’s office to have your ears syringed or checked for a pulse. ‘Beyond Repair’ is something of a minor pause in the intensity as something of a musical interlude before ‘Amon Amok’ barks out of the speakers. The heaviness increases on the grinding riff that is ‘Force Meets Presence’ as the intro deceives you before thrashing harder than most metal bands have over the last 30 years. The riff and rhythm is hypnotic and revolting at the same time.

The rage is put on hold whilst ‘Guilded cage’ shows some respite, but only briefly before catching its breath and building slowly with a heaving Bass and pounding rhythm. As we race to the finish line, ‘Make Me Forget You’ sounds like Midnight before signing off with the tribal rhythm of ‘We Were Never The Same,’ and we are done, and I’m almost broken from the repeated experience of playing this record in my headphones over and over. I might need an intervention. If you are looking for something nasty and fucked off, then Converge is your band and ‘Love IS Not Enough’ is your jam, as the kids say. Fuck em I say, just get some of this in your ears, heavy man!

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Auhtor: Dom Daley

Cronos – ‘Dancing In The Fire’ (DISSONANCE)

Cronos – ‘Dancing In The Fire’ (DISSONANCE)

Originally released, or UNLEASHED as I’m sure Cronos (Conrad to his mates), would say, in 1990, Dancing In The Fire was the first solo album from the Venom frontman/bassist. There’s no black metal on display here, though. I would compare the material on Dancing In The Fire to ‘80s W.A.S.P. or Armoured Saint. The opening track Fantasia has a glam metal feel. Cronos did a glam metal album? Umm… yes, he did. He even tries to be melodic, or as melodic as Cronos could get. There are lots of chuggy riffs, pinch harmonics, widdly guitar solos, and god-awful lyrics. Terrorise even has Cronos attempting a (bad) Steven Tyler impersonation. The vocals are as flat as a pancake that has been run over by a steamroller. Must try harder, Conrad.

The title track starts with a vaguely melodic intro but quickly becomes hilarious with Cronos trying his hand at some Bon Jovi style whoa’s (or should that be woes?) It really is hilarious; it’s more Spinal Tap than even the Tap can manage themselves.

The only halfway decent track is Vampyr, which could have ended up as a Venom track. The production is much better than any Venom effort, but that doesn’t save this cringfest. Venom were so influential because they did something new, and people latched onto the image, lyrics and dark sound. Cronos should have stayed in his lane and gave the Venom fans more of what they wanted. They definitely didn’t ask for Dancing In The Fire.

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Author: Kenny Kendrick

Michael Monroe – ‘Outerstellar’ (SILVER LINING MUSIC)

Michael Monroe – ‘Outerstellar’ (SILVER LINING MUSIC)

The Monroes are finally back! It’s been nearly 4 years since Michael Monroe’s last studio album, ‘I Live Too Fast To Die Young’, and while the man and his longtime cohorts have toured extensively in that time, it feels like some new music is well overdue, and I, for one, have certainly been missing their brand of high-energy rock n’ roll.

Now, while I feel that aforementioned last album certainly wasn’t his best, it sure had some fine stand-out moments, and I’m glad to report that their brand-new long player, ‘Outerstellar,’ certainly outshines its predecessor and holds a few surprises for those who are expecting more of the same as before. So, without further ado, let’s dig in and see what Monroe, Yaffa, Conte, Jones & Rockfist have in store for us this time around.

Opener and first single ‘Rockin Horse’ is a punked-up, defiant middle finger to the critics and the naysayers, job done. The following ‘Shinola’ rocks to a similar beat, although sounding more instant, more euphoric. The critics will scoff and call them “generic”, but hey, this band are just getting started.

On the first listen, its third track, ‘Black Cadillac’, where things really get tasty. With cool dynamics, NYC-style gang vocals and an uber cool riff, it’s got full-on Hanoi meets Demolition 23 vibes going on, and that, my friends, is exactly what we need from Michael Monroe in 2026. A song that truly makes you take heed and get excited for what else they have in store.

And there is a 1-2-3 of killer tunes on offer to get excited about; ‘Newtro Bombs’ is a frantic blast of punk energy with a Clash-inspired chorus and a nifty little, almost dub breakdown (Sami Yaffa’s influence no doubt). Next up, ‘Disconnected’ is the big, anthemic celebration of live rock n’ roll music, and then the infectious ‘Precious’ has a sugar-coated chorus that will embed in your subconscious after the first play and refuse to leave. Add to that a schizophrenic harmonica break courtesy of the main man, and you have a winner on yer hands.

Elsewhere, the radio-friendly ‘When The Apocalypse Comes’ has that unmistakable Monroe drawl, a chorus that is pure ear candy and killer guitars from Steve Conte & Rich Jones. A word on the production here, while I remember, as the whole album sounds crisp, clear and punchy as fuck, job well done.

They do take things down a notch and get reflective with Lords vibes on ‘Painless’, and the emotive, acoustic-led ‘Glitter Dust’ nods to those quirky Hanoi ballads. Both sound like they will be growers.

Album closer ‘One More Sunrise’ is the curveball many would never expect. An epic trip of a song clocking in at over 7 and a half minutes, it’s a brave attempt to think outside the box, and you know what?… I think it actually pays off!  Starting off like a ‘Nights Are So Long’ outtake, it wastes no time before kicking into a multi-part rocker that takes the listener on a Michael Monroe road trip you never knew you needed. It’s too much to take in with only a couple of listens, but let’s just say if you want an emotive sax solo, a piano breakdown with a killer chorus refrain to take you back to the glory days, then look no further. The Monroes are here to bring cinematic to those who inhabited (or still inhabit) the alleyways and sleazy bars at night, with just a bottle of Jack and a greasy eyeliner pencil for company. Insane, in a very good way.

‘Outerstellar’, the difficult 13th studio album from Michael Monroe, was apparently a labour of love, with some songs dating back to 2018, yet it sounds like it was a fucking breeze from start to finish! It feels like the band has pulled out all the stops here to prove this new album is more than just ‘another Michael Monroe record’. And I feel they have succeeded way beyond their expectations. The live energy has been captured to perfection with a top-notch production to boot. The band are at the top of their game, not only as players but as writers too, and it feels like ‘Outerstellar’ is the make-or-break album this band needed to make in 2026. Essential listening for those who like to rock like fuck!

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Author: Ben Hughes

A Place To Bury Strangers – New rarities album

A Place To Bury Strangers – New rarities album

 ‘Rare And Deadly’

Out April 3rd via Dedstrange

Photo credit: Heather Bickford

New-York based band A Place To Bury Strangers announce their new rarities album, Rare And Deadly, out April 3rd via Dedstrange, and release the lead single, “Everyone’s The Same.” Following 2024’s Synthesizer, Rare and Deadly cracks open a decade-long vault of raw nerve and sonic chaos from A Place To Bury Strangers. Spanning 2015–2025, this collection of demos, B-sides, abandoned experiments, and forgotten fragments reveals the band at their most unfiltered—caught between breakthrough ideas and beautiful mistakes. Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes, and half-finished sessions, these tracks pulse with the unruly energy that has always defined APTBS, but here the interference is closer, the electricity more dangerous, the edges left jagged on purpose.

What makes Rare and Deadly truly unprecedented is that every format tells a different story. The CD, cassette, vinyl, and digital editions each feature their own unique tracklisting, a fractured release strategy that is almost unheard of. No single version contains the “complete” album. Instead, each format becomes its own window into the archive, revealing alternate paths, missing links, and parallel versions of the band’s inner life. It’s a deliberately unstable document: the album shifts depending on how you choose to hear it, mirroring the chaos of its creation.

Across these recordings, you can hear the evolution of Ackermann’s restless mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends—ideas too volatile, too strange, or too personal to ever fit the frame of a proper release. But together they form a secret history of the band, a parallel world of possibilities that existed just outside the spotlight. The tracks contain riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by walls of feedback until only their ghosts remain, as on today’s single, “Everyone’s The Same.”

Reflecting on the track, Ackerman says: “I had a dream where a man led me to a brook, peaceful and calm. When he turned his head slightly, I saw the most evil smile imaginable. But when I looked directly at him, it was just the back of his head again. Beauty and horror coexisting in the same space. It felt like hell leaking into something serene. Maybe that’s reality sometimes. And maybe pretending otherwise is a kind of survival.”

Stream “Everyone’s The Same”

Rare and Deadly is less a compilation and more a documentary—an aural snapshot of how sound takes shape before it hardens into something finished. You hear the room, the accidents, the restless experimentation, the immediacy of a moment being captured before it disappears. It’s a reminder that A Place To Bury Strangers has always thrived in this in-between space: the tension between control and collapse, melody and noise, beauty and distortion.

Pre-order Rare And Deadly

A Place To Bury Strangers Tour Dates:
Tue. April 7 – Hamburg, DE @ MS Stubnitz
Wed. April 8 – Leipzig, DE @ UT Connewitz
Thu. April 9 – Praha, CZ @ Futurum Music Bar
Fri. April 10 – Brno-město, CZ @ Kabinet múz
Sat. April 11 – Bratislava, SK @ PINK WHALE BAR
Sun. April 12 – Budapest, HU @ A38
Mon. April 13 – Belgrade, RS @ Karmakoma
Tue. April 14 – Sofia, BG @ Mixtape 5
Wed. April 15 – București, RO @ Control Club
Fri. April 17 – Thessaloniki, GR @ Eightball Club
Sat. April 18 – Athina, GR @ Gazarte
Mon. April 20 – Rome, IT @ Monk Club
Tue. April 21 – Florence, IT @ Ex Fila
Wed. April 22 – Bologna, IT @ Social Center TPO
Thu. April 23 – Milan, IT @ Santeria
Fri. April 24 – Zurich, CH @ Bogen F
Sun. April 26 – Brussels, BE @ Magasin 4
Mon. April 27 – Cologne, DE @ Gebäude 9
Wed. April 29 – Utrecht, NL @ De Helling
Thu. April 30 – Deventer, NL @ Burgerweeshuis
Fri. May 1 – Eindhoven, NL @ Fuzz Club Festival 2026


A Place To Bury Strangers online
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Jay Buchanan – ‘Weapons Of Beauty’ ( Sacred Tongue Recordings)

Jay Buchanan – ‘Weapons Of Beauty’ ( Sacred Tongue Recordings)

Californian singer/songwriter Jay Buchanan retreated to a windowless underground bunker in the Mojave Desert to find inspiration for his first solo album. In isolation, with abandoned gold mines, rivers of sand and just coyotes for company, the Rival Sons frontman found his mojo, sought retribution and wrote a whole album’s worth of material which now comes to fruition in the form of ‘Weapons Of Beauty’.

Produced by long-time collaborator Dave Cobb at his studio in Savannah, Georgia, and featuring a host of Nashville’s finest musicians, ‘Weapons Of Beauty’ is a deeply personal album. The sparse instrumentation, clever use of space and depth of emotion of the melancholy opener ‘Caroline’ sets the scene perfectly. With a heartachingly haunting melody, Jay paints a picture of the emotion of love and loss with a wide-angle lens. This vibe continues on ‘High and Lonesome’ with stunning vocals backed by a gentle beat, slide guitar and piano. The players give just enough to accentuate, not enough to overpower the vocal.

Only on track 3 do things take a sudden upshift. Second single ‘True Black’ is a stunning song, make no mistake, a righteous sermon that embeds itself on first play. The overly familiar gospel-tinged chorus will leave you wondering how you lived your life without it such is the power.

There’s a cinematic feel to the Americana-tinged songs on offer, and the great songwriting and emotive playing will leave the listener enraptured and yearning for more. The stark feeling of isolation and introspection has been magically captured by Cobb, and brings to mind the feel of Springsteen’s ‘Nebraska’ or Bon Iver’s ‘For Emma, Forever Ago’. Nothing is overplayed, and it gives a very ‘live in the studio’ feel. The folky, almost Celtic ‘Tumbleweeds’ and ‘The Great Divide’ have a more commercial, radio-friendly feel with soaring, powerful vocals and life-affirming lyrics that will make the hairs on the back of your neck rise to attention. Elsewhere, ‘Deep Swimming’ brings to mind The Lumineers and ‘Sway’ is a beautiful love song to his wife with a stunning vocal performance.

Leonard Cohen’s ‘Dance Me To The End Of Love’ fits perfectly with the themes of love, loss and retribution and serves as a precursor to the title track that closes the album. The piano-led ‘Weapons Of Beauty’ is as emotive and dramatic as you could wish for. As you wait on Jay’s every word, at times his voice is on the verge of breaking, such is the power and emotion he pours into this performance.

‘Weapons Of Beauty’ is a deeply personal album, a true confessional told by a true storyteller. It is the sound of a man laying his heart on his sleeve and coming to terms with the burdens of loved ones and the reflections of time in self-imposed exile.

Jay Buchanan has created a cinematic landscape that takes the listener on a mystical journey through his soul, covering a range of emotions, and at times, you truly feel you are encroaching on something that wasn’t meant to be shared. And that is a rare thing for an artist to accomplish.

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Author: Ben Hughes

THE CHUCK NORRIS EXPERIMENT – ‘Hot Stuff Vol. 3’ (Ghost Highway Recordings and Chaputa! Records)

THE CHUCK NORRIS EXPERIMENT – ‘Hot Stuff Vol. 3’ (Ghost Highway Recordings and Chaputa! Records)

Hot Stuff Vol. 3 is the third instalment in a very specific side series within The Chuck Norris Experiment catalogue: a carefully curated collection of recordings spanning different sessions, years and contexts, bringing together covers, original songs and lesser-known tracks that sit outside the band’s regular studio albums. One thing we know from listening to this band for donkeys years is they always deliver, be it single splits or albums, they in fact have matured over the years, and since the 7-inch album, they’ve been on fire, delivering their best music in an illustrious career thus far.

Obviously in a band, there are going ot be common loves and styles but collectivly they also share a wide range of influences — from Blue Öyster Cult, Sex Pistols, Dead Moon, New Bomb Turks, Demolition 23 and Electric Frankenstein (all included here) but what they’ve mnaged to do is take these songs and own them knocking out CNE versions and interpretations and owning some very good songs. Alongside the covers, original tracks such as ‘When The Dust Settles’, ‘All Your Bridges Are Burning’ and ‘Let The Wheels Roll’ Showing that the band’s own output stands tall next to some pretty big hitters I guess someone not familiar with the covers or the bands own output would be hard pressed to split the tunes into covers or original. ‘Problems’ gives the Pistols a souped-up Scandi overcoat, and it fits really well. To be fair, the energy they’ve put into these tracks is a real joy to hear, especially when played loud! its what the wah pedal was made for.

The album also features a guest appearance by Jake Starr on ‘In The Doorway’, a name that needs no build-up or introduction to the well-researched Garage rock scene. I adore the Demolition 23 album, and to hear another band I also respect and have most of the music they’ve released covering ‘Hammersmith Palais’ is a highlight on this record. Also, you can add the Electric Frankenstein cover to my top picks. If you know the band’s previous releases, this is a no-brainer. If you’re looking for a new band to delve into, then this is still a no-brainer; Chuck Norris Experiment Hot Stuff is absolutely Hot Stuff. Don’t snooze its limited to only a few hundred copies.

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Author: Dom Daley

Kevin Steele – ‘One Thing Left to Do’ (Steele Records)

Kevin Steele – ‘One Thing Left to Do’ (Steele Records)

I was 14, and 99% of my music listening involved hard rock, metal, thrash, and what we now refer to as hair metal. Z-Rock was something of a pioneer at the time, as I believe it was a national radio station, instead of just being heard locally. I remember hearing a mix of hard rock and metal back then, where it might transition from Rigor Mortis to this new band called Roxx Gang. The first time I heard ‘No Easy Way Out’ by Roxx Gang was one of those magical moments where a song just flows through your soul. Kevin Steele’s vocals had a unique charisma all their own. I picked up their debut album ‘Things You’ve Never Done Before’ and put it on repeat. While I’m convinced someone could have just made a spark and sent them into a collective ball of fire with all the aqua net they had in their hair, they did provide some differences from their peers. Some of their lyrics were a little darker, but at other times, they were as juvenile as the stereotypes of the time. The musical world changed with grunge’s arrival in the mainstream. Roxx Gang continued on with an independent label, and I remember buying their second album through Perris Records, as well as the Mojo Gurus albums. That second Roxx Gang album has received more and more listens over the years. Steele has now delivered his first solo album, and, while I find it a frustrating listen at times, there is a lot I also enjoy.

The title track gets the album started with a bass-heavy mix that leaves me wishing the guitars had more presence in the mix. They pop up a couple of times but seem to get swallowed by the rhythm section in the overall mix. It’s always great to hear Steele’s vocals, but it’s a rocky start for me. Lead single ‘Snake Charmer’ has grown on me with repeated listens, but I didn’t connect with it at all on first listen. This one features a cool groove, and the mix allows the guitar to weave its way around the rhythm. Up next, ‘The Bedspring Boogie’ has a title which could have been used in the early Roxx Gang days. I love the piano here, and the swagger of the song. I get frustrated again when the guitar gets lost in the verse,s but really like the way it is used elsewhere.

‘I Know What Yer Up To’ turns up the blues, and the mix here really works for this song. My first few listens of the album, this was the song that really pulled me back and made me pay attention. Wrapping up the first half of the album is the ballad ‘Sad, Sad Song.’ Musically, I am reminded of the Dogs D’amour and Nikki Sudden here, which is always a good thing. There is a genuine vulnerability in the vocals, and it ends the first half of the album on a positive note.

One of my favourite Roxx Gang songs was ‘Nine Lives’ from their debut album, and side two kicks off with its sequel of sorts in ‘The 9 Lives Blues.’ A bluesy rock beat with some killer piano that incorporates some of the vocal melody from 38 years ago creates a great song. Every instrument feels present in the mix, and the album’s momentum continues building. ‘Fingers Crossed’ brings a rolling and rocking country vibe to the album, where acoustic and slide guitars get the focus. Musically, this would be at home on albums by Izzy Stradlin, the Black Crowes, Quireboys, Stones, or bands in the red dirt music scene here in the States. Steele’s drawl on the vocals shows another side to his voice, while also always sounding like himself.  A rocking soulful rhythm and blues groove, strengthened with horns, highlights ‘Nobody Tells Me When to Quit.’ I like the use of the backing vocals here. It doesn’t connect with me as much as the previous songs, but it adds some fun to the album.

Hard rock ‘n’ roll explodes out of the speaker through ‘My Baby Didn’t Come Home Last Night.’ It builds on the joyous spirit from the past couple of songs, and this is another one where I love the piano. Proper album closer ‘There’s a Better Day Comin’ utilises a midtempo beat. This is one of those everyone raise your glass for a toast songs. ‘Don’t You Worry About Me’ appears to be a bonus track, as I don’t see it listed on the vinyl version of the album. It is not a cover of the Wildhearts song, if anyone had that thought. This is an acoustic troubadour celebration with some excellent guitar picking. This is probably my favourite song from the album.

While the mix of the album doesn’t sit right for me, my appreciation for Steele’s previous work helped me persevere through the beginning of the album and encouraged me to keep playing the album. I would love to see the first few songs get a bit of a remix and add some guitar in there. If you find the first song a struggle, I recommend starting with the 3rd or 4th track and then working all the way back around. I will be mixing songs from the album into my monthly playlists, which will likely lead to the whole album getting more plays.

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Gerald Stansbury

GOLEM DANCE CULT – ‘PRETTY AT DAWN’

GOLEM DANCE CULT – ‘PRETTY AT DAWN’

‘Pretty at Dawn’ is a collaboration between Golem Dance Cult and Australian singer (songwriter) Inga Liljestrom and French musician, Jean-Philippe Feiss on Cello. It has been engineered by our “modern-day Shaman” Klaus Karloff at WOW studio.

The song was born from a Bass riff and a specific ambiance, at Dawn in the bush in Australia (with the birds around). Lyrically it deals about appearances.

“Sometimes in a relationship, things are not really what they look like… You have to look hard at yourself in a mirror, which can be difficult for a Vampire, to see past the appearances”…

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Massive Wagons Strip Back the Stigma Around Men’s Mental Health as Andy’s Man Club Joins UK Tour

Massive Wagons Strip Back the Stigma Around Men’s Mental Health as Andy’s Man Club Joins UK Tour

plus Scarlet Rebels Confirmed as Special Guests.

Massive Wagons are set to shine a spotlight on men’s mental health, teaming up once again with Andy’s Man Club for their 2026 UK tour. Launching the partnership with a stripped-back campaign moment at their Sold-Out Warrington show in nothing but their Andy’s Man Club branded Oddballs boxer shorts. Using humour, openness, and visibility to support the charity’s vital work and encourage conversations around mental health across the UK.




Andy’s Man Club representatives will be present at venues throughout the Everywhere We Go UK Tour, helping to tackle the stigma surrounding men, speaking openly about mental health. Chart-topping rockers Scarlet Rebels will also be joining Massive Wagons as main tour support. At all venues apart from Gloucester, with support for that show still to be announced.

Andy’s Man Club will be embedded into the tour experience, with their facilitators on hand at shows to talk to fans, share information, and signpost local peer-to-peer support groups. The partnership aims to encourage men to open up, attend meetings, and seek support,  addressing the sobering reality that suicide remains the single biggest killer of men under the age of 45 in the UK.

Frontman Baz Mills explains why the band is committed to continuing the partnership


“Super stoked to have the wonderful Andy’s Man Club back out on the road with us this April and May. The last time we toured with the guys it worked so well, we thought, why not keep doing what works! It’s a no-brainer really. Mental health isn’t something that gets fixed overnight like a bug in a system. It’s an ongoing fight to help men and people, navigate the punishing challenges surrounding mental health.

Any opportunity we get to expose our fanbase, or new people, to the realities of men’s mental health, we’ll grab with both hands. We recently caught up with Luke from AMC, and he filled us in on the successes of the tour we did together last year. He said they saw a few hundred new men attending meetings off the back of the shows, several have gone on to become facilitators, and one has even opened their own club, just amazing!
Getting the message out there and smashing the stigma around talking about mental health is the main goal, and the longer we can be involved with AMC, the better.”


Luke Tetlow-Cross from Andy’s Man Club adds:

“ANDYSMANCLUB have been working with Massive Wagons for the past two years, joining them on the Earth to Grace tour in 2024, Earth to Grace Part 2 in 2025, and their iconic Lancaster Great Hall show last September.

Across those tours we handed out over 8,500 wristbands and information cards, and we’ve seen a huge number of Massive Wagons fans attend our groups with some going on to become facilitators and help us open even more clubs across the country.

We’re thrilled to be heading back out on the road with the band for the Everywhere We Go tour this April and May. Massive thanks to Terri, the band, and the entire team for helping spread the message that #ITSOKAYTOTALK.”

Joining them on the following dates are Welsh Rockers Scarlet Rebels, whose most recent album Where The Colours Meet’ scored their second top 20 UK Album Charting record, hitting number 15 and giving them their first UK Album Chart Rock and Metal number 1.

Frontman Wayne Doyle says “We’re absolutely buzzing to be joining Massive Wagons on their latest UK tour. We’ve shared a bill with them several times and we’ve always had the best time. They’re an amazing band and genuinely lovely people…So to be able to join them on the road is a massive privilege for us, we cannot wait.”


EVERYWHERE WE GO – UK TOUR 2026

17.04.2026 – Norwich, Epic Studios
18.04.2026 – Leicester, O2 Academy
19.04.2026 – Holmfirth, The Picturedrome
23.04.2026 – Aberdeen, The Tunnels
24.04.2026 – Middlesbrough, Empire
25.04.2026 – Hull, The Welly
30.04.2026 – Margate, Dreamland
01.05.2026 – Exeter, Phoenix
02.05.2026 – Gloucester, Guildhall *

*No Scarlet Rebels – Gloucester support TBC

Tickets: https://www.massivewagons.com/live


 Website: https://www.massivewagons.com
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