The Libertines are cock-a-hoop to announce the release a new single Shiver, taken from the band’s forthcoming new album, All Quiet On The Eastern Esplanade.
Shiver is co-written by Peter Doherty and Carl Barât:
Carl“Peter had a song and I had a song and we mashed them up and did it collaboratively.”
Peter“I would probably find it difficult to work out who did what because we were both there the whole time through its creation. It should really be called ‘The Last Dream Of Every Dying Soldier’, but everyone liked the title ‘Shiver’.”
The video for Shiver a Bergmanesque seaside funeral of a pearly king, shot in stark black and white, stars the Libertines in their sharpest charcoal threads alongside a cast of several characters who appear on the sleeve art for All Quiet On The Eastern Esplanade. The video was directed by Alex Brown (La Roux / James Blake) and shot in Cliftonville, Margate, and at The Libertines’ hotel The Albion Rooms. It is the third installment in a series of Margate-themed videos, following on from first single Run, Run, Run VIDEO and Night Of The Hunter VIDEO
The Libertines will also be recording a session at BBC Maida Vale Studios later this month for broadcast on Radio 2 ‘Piano Room’ in February.
All Quiet On The Eastern Esplanade, The Libertines’ fourth album, is released on 8th March ’24 through EMI and is available to preorder here: TheLibertines.lnk.to/AQOTEEPR
All Quiet On The Eastern Esplanade was produced by Grammy-nominated producer Dimitri Tikovoï (The Horrors/Charli XCX/Becky Hill) and recorded at The Albion Rooms in Margate. Recorded in just four weeks during February and March ’23 and finished over seven days at La Ferme de Gestein Studios in Normandy, with additional production and mixed by Dan Grech-Marguerat (Lana Del Rey/Liam Gallagher/Paul McCartney).
All Quiet On The Eastern Esplanade will be available on CD, deluxe CD, 12” vinyl in limited edition coloured variants, deluxe double vinyl cassette and digital download.
Having stormed the Lido in Margate for two shows in December, The Libertines play the following club shows over the next few months, all of which sold out within minutes of going on sale.
Never one to shy away from a challenge Idol assembled his troops and descended upon the iconic landmark to shoot a live concert film with long-time guitar slinger Steve Stevens also featuring guest appearance from Generation Sex bandmate and Sex Pistol Steve Jones. To be fair it’s a pretty impressive setting for what was billed as a spectacular special event.
Billy Idol, makes history by playing the first-ever concert in front of the world-famous Hoover Dam. Kicking off his sell-out 2023 North American spring and summer tour, the once-in-a-lifetime performance, which illuminated the surrounding Black Canyon of the Colorado River and the Mike O’Callaghan-Pat Tillman Memorial Bridge, all the platinum-selling hits are present and correct, including ‘Dancing with Myself’, ‘Eyes Without a Face’, ‘Rebel Yell’ and ‘White Wedding’.
To be fair Idol looks in great shape and his performance is one of a confident frontman in what can only be described as an insane location for a concert it’s so over the top it is pure Idol to be fair. With over 40 million album sales and numerous platinum albums worldwide, it’s easy to forget how big an impact Idol has had on Rock music in a crowded industry, This mad performance also includes special guest slots from the Kills’ Alison Mosshart, No Doubt bassist Tony Kanal as well as Steve Jones. there are also a slew of bonus features bolstering this DVD such as a Q and A with both Stevens and Idol and a trio of acoustic tracks that to be fair sound fantastic. A must for fans and curious music fans alike. Play on Billy you’ve still got it. Oh and one last observation I have to say that Idol is like the peter pan of punk and Steve Stevens has a fantastic head of hair well done guys.
It doesn’t seem like five minutes ago that I was reviewing Saxon’s last fine collection of Heavy Metal tunes ‘Carpe Diem’ for this fine online publication. That was a bloody great album. I caught the band live twice in 2022 too, firstly when they stepped in and saved the day at the Steelhouse Festival after a certain American guitar player decided to pull out, and then at St David’s Hall in Cardiff with Diamond Head doing a great job in the support slot…. More about them shortly.
Much has happened in the Saxon camp in the last few years. Founding member Paul Quinn decided to step down from the band in 2023 much to the surprise and disappointment of many of Saxon’s die-hard fans. After all, Mr Quinn had been there since the ‘Son of a Bitch’ days. He’s kept himself busy though with his other project: The Cards, and it’s been great to see him join the other founding guitarist of Saxon – Graham Oliver on stage at some of Oliver’s gigs.
Stepping in as the new guitarist in Saxon is none other than Brian Tatler of Diamond Head, (told you there’d be more about them). He certainly fits in well with Biff and the boys. They share a long history as part of the NWOBHM movement back in the late ‘70s and early ‘80s and DH are arguably as influential as Saxon in inspiring a new era of metal with the speed and thrash boom in the mid to late ‘80s.
Saxon have been keeping themselves busy (as usual) and 2024 is off with a bang as their latest album ‘Hell, Fire And Damnation’ has landed. Incredibly, this is the band’s 24th studio album. Let that sink in…
The album kicks off with an atmospheric build up before Brian ‘Gordon’s Alive’ Blessed tells us all about ‘The Prophecy’, which rolls into the title track – a mid-paced chug fest with THAT guitar tone that producer extraordinaire Andy Sneap has nailed down to a fine art. Biff’s vocals sound superb as ever and Tatler puts his stamp on the new tracks alongside longtime guitarist Doug Scarratt.
‘Madame Guillotine’ is a muscular, slab of metal with lyrics about not losing your head. ‘Fire and Steel’ showcases the always amazing Nigel Glocker’s sizeable chops. Double bass barrages a plenty. Bass player and full-time head banger Nibbs Carter keeps up with ease. They really are a rhythm section to be reckoned with. Superb. ‘There’s Something in Roswell’ kicks in with an epic intro before we are off into another chugger with a UFO theme. I too believe there’s something there.
Saxon, along with Iron Maiden are one of those bands that taught me more about history than school ever did, and I’ve always been a fan of their historical lyrical content. ‘Kubla Khan and the Merchant of Venice’ is another of these historical masterpieces. ‘Pirates of the Airwaves’ is a nostalgic nod to Biff’s early days of listening to pirate radio stations.
We are back in history class for ‘1066’, a steady head nodder with more solid guitar work from the Tatler/Scarratt pairing. ‘Witches of Salem’ is a track close to my heart, well, I am married to a Wicca Witch after all…. Some of the riffs on this track are approaching death metal territory, impressive stuff.
Final track ‘Super Charger’ closes an album of fine-tuned Metal muscle. Saxon NEVER phone in any of their material, they really do want to deliver the best to their legions of fans, and they always deliver. The cover art from Peter Sallai is superb too. The next phase of the Saxon story has begun in style. I look forward to catching them live somewhere in 2024!
The Almighty added as Sunday headliners in UK Festival Exclusive, plus Living Colour return, Phil Campbell & The Bastard Sons and Dan Byrne also confirmed
Steelhouse Festival is ecstatic to announce The Almighty as Sunday headliners, in what is a UK festival exclusive. This will be the first show from The Almighty in Wales since their reconvening, and will in fact be their only date in Wales this year
Also, Living Colour are now confirmed to return to the Mountain to make their second Steelhouse appearance. Plus, Phil Campbell & The Bastard Sons will appear on Saturday July 27th alongside their Welsh comrades, Skindred. One of the UK’s most exciting new prospects, Dan Byrne will play on Sunday afternoon. As well as all of these additions to the bill, there are still more announcements to come!
The Almighty frontman, Ricky Warwick says, “Hey people of Wales and beyond… Sunday July 28th sees The Almighty headlining and closing out Steelhouse Festival. I’ve had the honour of playing here with Black Star Riders and Thin Lizzy, but this is going to be a wee bit special… This will be our only UK festival of 2024… It’s going to be amazing and we can’t wait to see you… The all loud, the wild, The Al-f******-Mighty!”
Max and Mikey said, “We’re really, really pleased with this one. When The Almighty announced they were getting back together for select shows, we knew we had to get them to Wales and headline Steelhouse. This is it, their only Welsh show, their only UK festival appearance, what a celebration it will be – maximum rock n roll, the absolute real deal”.
Last year was the biggest Steelhouse Festival ever, and the signs are that 2024 will be even better.
Over a decade has passed since the inaugural Steelhouse in 2011, and the Festival at the top of the mountain boasts not only the best views of any UK rock event but one of the most passionate, friendly and loyal followings. With a reputation for not only bringing in the biggest and best names from the international world of Rock, Steelhouse also understands the role it can play in throwing open its prestigious stage to the best of the new breed of bands. It all adds up to a compelling mix of classic and cutting edge Rock, old and new.
“So, once again let’s get ready to Rocio y Mynydd / Rock the Mountain!”
Cue rough uptempo vigorous repetitive electric guitar lick quickly followed by the warm earthy tones of Justin Sullivan’s vocals soon to be joined by an acoustic guitar being attacked with venom and purpose before the drums join in with a ricocheting tribal rhythm and ‘First Summer After’ is burrowing into your brain with a sound and attack that is the first new New Model Army track of the 2024 album whilst also drawing on early sounds made by the band who on this opening evidence have lost none of the anger and attack that fuelled them over the past decades. The Bass line is struck with force that drives you into the second song which opens with an equally aggressive Bass line. ‘Language’ is a snarling throbbing uptempo slice of old school-stripped back New Model Army. I like where this is taking me, I’m liking it a lot with every play.
It’s unfussy bare boned NMA there are no strings no hushed tones or lush deliveries this is toe to toe in your face. You can feel the breath from the vocals being howled out in your ear being ably backed by the band’s most aggressive-sounding album for a while. ‘Reload’ is the sound of the UK or the parts of the UK that are tuned in and switched on and fed up to fuck with the current incumbents of parliament and their hollow rhetoric and constant bullshit. The Riff is a grunting poked beast that is salivating as it strains on the leash to be set free. A most excellent song and nails the mood of the lyrics.
Sullivan expressed the story behind ‘I Did Nothing Wrong’ and the latest miscarriage of Justice engulfing the UK for the past few weeks with every Tory jumping on the bandwaggon expressing outrage at the poor predicament of ex-postmasters who got fucked over by a corrupt system. some insight into the lyrics adds gravitas and weight to the song and elevates this body of work even further. ‘Cold Wind’ is the first hushed intro on the record with acoustic guitar and some twisted samples paving the way as the darker side of the record takes you on a journey that enables you to take stock and breathe in what’s already come before it.
The reflective mood of 2019s ‘From Here’ is swept aside on ‘Unbroken’ for a darker more aggressive edge none more evident than the Early Nirvana ‘Blew’ era post-punk of ‘Coming Or Going’ if you’re looking for an album to lift you for the political fights about to engulf the UK and USA then let this album take the strain. It’s punching and swinging haymakers that would terrify bands half their age and some. Sullivan is moving towards retirement age and is up for the fight on this record. The self-reflecting continues on ‘If I’m Still Me’ which might explain the sound of this album and I can assure you – Fuckin’ right you are still you. This album is a nugget of solid gold with eleven of the finest New Model Army songs you could wish to hear. To come up with an album this strong is a testament to the talent of the band and its main protagonist Justin Sullivan for continuing this journey over many decades and still having the ability to write the best most complete album for several decades (and I’m someone who loves this band and has always championed their records even in the years where they weren’t a chart bothering beat combo).
I love the delay and reverb on the bass line in ‘Legend’ proper ‘Vengence’ tip of the hat there. The more I’ve played this album the better it gets with different songs jostling for my attention every time. Uncomplicating their core sound and stripping it back wasn’t something I expected at all especially after ‘Sinfonia’.
As the album reaches its climax you are taken on a late night stripped bare ‘Idumea’ with harmonies that are rich and warm and after the softer intro, the tribal rhythms take you off on another journey with some folky melodies and a softer song to offer hope with big choir vocals. but hold onto your strides there is one last push as the record is signed off with ‘Deserters’ and its thumping bass-driven song.
New Model Army have delivered the good and an album that will be riding high in my end-of-year top album list without a shadow of a doubt. A band I’ve had playing in my ears since the mid-80s and who have delivered some of the best albums I’ve had in my collection on multiple formats for all of my youth and adulthood and I still get excited when a new album hits and having the privilege of hearing it before its release is an honor, and for me to try and do it justice and get you as excited as I was when I first heard it. Simple this one – Buy it!
The first taste of live music in 2024 is a trip across the border and into the Exchange for a night of Cider and black and guyliner n Goth for Swedens Agent Side Grinder are opening tonight’s show in support of the most excellent Then Comes Silence.
With a healthy turnout Agent Side Grinder takes to the stage bathed in a sea of Fog (as you’d expect) and turn up the electronic goth tones for a forty-five-minute take on some very impressive Soft Cell meets Depeche Mode whilst absorbing the Gary Numan back catalogue synth Goth (if you looking for a yardstick to measure their sound then these seem like the perfect touching point) This three piece (Two Keyboards and one vocalist) deliver a modern twist on ‘Speak and Spell’ meets ‘Non Stop Erotic Cabaret’ hailing from Stockholm and already having delivered six studio albums in their almost twenty year existence I’m almost ashamed to say this was my first time seeing the band.
Supporting their 2023 album ‘Jack Vegas’ the band got on with business and aided by the most excellent PA in the Exchange they were able to turn it up and dive in. Songs like ‘Waiting Room’, ‘Madeleine’ and ‘Wolf Hour’ sounded excellent and bringing Alex from Then Comes Silence up for a few tracks added another level to their sound that came to life with the additional bass guitar, giving the songs more depth and a big bottom end. Emanuel led this synth trio through an impressive set and I’m glad I was there early enough to catch the perfect opener to ease you back into the live arena after a few weeks off from live shows.
Then Comes Silence are back to a three-piece and take to the stage and proceed to spend the next hour or so delivering the perfect guitar-based Goth Rock currently doing the rounds anywhere. The three-piece kicks off with ‘Ticket To Funerals’ and roll straight into ‘Flashing Pangs Of Love’. Hugo is whirling in circles as he throws out the Brian James Lords-inspired riffs drenched in delay and chorus that evoked memories of a young Daniel Ash at his prime so much so that I commented he played the riff of ‘Fashing Pangs’ at about two o’clock that afternoon such was the delay on the overdrive. However, the sound as per usual in the Exchange is second to none, and Then Comes Silence are playing a blinder. A well-oiled machine that they are they throw out banger after banger touching on Goth greats Such as the aforementioned Lords Of The New Church as well as a host of other post-punk bands who dabbled in Goth. It’s no surprise that Wayne Hussey holds them in such high regard with songs like ‘We Lose The Night’ and ‘Warm Like Blood’ dripping with sheer class and a hint of The Mish in their DNA.
A frenzied pit of Gothness broke out mid-set and a more polite and gentile mosh pit you won’t find anywhere this side of Hades. The fuzz of ‘Strangers’ gave me goosebumps and the relentless attack on my senses was further heightened as the fantastic ‘Strange Kicks’ played out. There wasn’t much in the way of banter between songs more preferring to let the music do their talking and to be fair they sounded fantastic as we headed for the final Hurrah as ‘The Rest Will Follow’ made way for the inspired ‘Animals’ and without fanfare, we were done.
That was nothing short of awesome. How this band are playing small clubs is a mystery, they should be rolling through towns with trucks hauling their gear and large concert venues being laid waste with plumes of dry ice and the sound of distorted decaying riffs ringing through your ears.
This old Goth can go out into the cold winter air happy in the knowledge that 2024 got off to the best possible start gig-wise. I only hope 2024 sees a new album and more live shows from my favourite Swedish Goth Rock band. That set my friends will take some beating and its only just January.
They say that in life first impressions are everything, and when it comes to Oslo five-piece Gluecifer, for yours truly, that was most certainly the case.
I first encountered Gluecifer around a quarter of century ago, initially through a Rockpalast performance on (German TV channel) WDR early one Sunday morning after a night out in Abertillery Rock City. I was completely blown away by what I witnessed, not only by their rather unique take on the garage punk genre but also by the suave stylings of the band’s members, especially the ultracool onstage persona of singer Biff Malibu. I mean anyone who can wear white loafers and a red velour bowling shirt whilst ridiculing Joey DeMaio’s inability to drink a (piss weak) tin of beer is already a winner in life, right?
Having quickly taped this performance onto VHS for all my mates to see I then quickly invested in a copy of the band’s ‘Soaring With Eagles At Night To Rise With The Pigs In The Morning’ album and loved every second of it. Then, just a few short months later, me and my (pre) uber rockin’ amigo Gaz Tidey found ourselves stood stage front and centre watching the band live as they hit Newport’s Legendary TJ’s venue. This time around the guys were out on the road with Gaza Strippers promoting their then-new album ‘Tender Is The Savage’, and if they’d blown us away on TV playing live, nothing was about to prepare us for what they were like in the flesh. So, when drummer Danny Young decided that playing a gig in a fibreglass (pretend) cave somewhere in south Wales was also the best time to wear arseless leather trousers whilst at the climax of their set the guys also took a step back (they couldn’t take any more than that as they’d have been off the back of the stage) and unleashed an indoor firework display that must have set them back at least £3.50 of the tour budget, we fully understood why Gluecifer, really are the undisputed Kings of Rock.
Following on from that most eventful night, I went to see the band pretty much every time they toured the UK, and unlike some of my fellow Gluecifer fans who I have got to know through the years, I also thought they progressed as songwriters with each subsequent studio album they released, until in 2005 following the tour in promotion of their ‘Automatic Thrill’ album, they rather unexpectedly (to me at least) decided to call it a day. The world of rock was left with a giant Gluecifer shaped hole, something that not even the arrival of Bloodlights (guitarist Captain Poon’s excellent post Gluecifer band) could ever truly fill.
A posthumous Gluecifer compilation album ‘Kings Of Rock (B-Sides And Rarities)’ was released by Epic/People Like You back in 2008 and this is where the genesis of the idea behind the album I’m about to (finally) get around to reviewing first saw the light of day. That album (in their Norwegian homeland at least) took one album packed full of “hits” as its main selling point, then added a second album of deep cuts, whilst everywhere else in Europe it was that 16 track second album (with an added ‘Desolate City’ from LP number one) that hit the record shops as a standalone release.
Here in 2024 that rarities album has been expanded to a 24 track double LP/download, taking 14 of the tracks from the 2008 release and adding 10 new ones to the track listing, including some recorded during the sessions around the ‘Tender Is The Savage’ and ‘Basement Apes’ albums that have never previously been released.
Kicking off with (the aforementioned) ‘Desolate City’, which was the last track the band recorded together prior to them splitting up back in 2005, this track was penned for a Norwegian action movie named “Izzat” and since the guys reformed back in 2017 to play a series of live shows this tune has proven to be a particular set list favourite with fans. Listening to it again here in 2024 certainly reinforces my shock at the band splitting up back then, because as this tune proves, they really were going out on a high.
Not that there are any lows during the 23 other tracks that make up this compilation I trust you understand, as the band’s earlier tunes like the rip-roaring ‘Monoman’ (taken from the band’s debut ‘God’s Chosen Dealer’ single, which has all 3 of its tunes included here) sitting alongside the likes of ‘Beg Like The Dog You Are’ (previously unreleased from the ‘Tender Is The Savage’ sessions) make for a fascinating sonic voyage through the band’s deep cut back catalogue and their development as songwriters.
The songs I was particularly interested in hearing were the 3 previously unreleased tunes that didn’t make the cut during the recording of the ‘Basement Apes’ album. With this being my (when pushed to choose one) favourite Gluecifer album the harmonica honking ‘All The Young Droogs’ is an immediate “why didn’t this make the final album?” standout, whilst the almost Saxon-esque thunder of ‘The Hammer & The Wheel’ is also a winner, which just leaves the sassy strut of ‘(Gimme That) Good Butter’ (complete with some Stonesy female backing vocals) to close out ‘B-Sides & Rarities 1994-2005’ and illustrate once again that at the very heart of Gluecifer there was always more than just a balls out garage punk band.
At just shy of 1 hour and 20 minutes long there’s a hell of a lot to get through within the grooves of ‘B-Sides & Rarities 1994-2005’ so I’m going to leave you to fully discover what Captain Poon himself calls “a nice little treasure hunt”. It’s well worth investing your time and money in that’s for sure.
‘B-Sides & Rarities 1994-2005’ is available now on “slightly” silver double vinyl, tucked snugly into a gatefold sleeve via the link below, and you never know, if enough of us in the UK go out and buy this, Gluecifer might even think about playing the UK again (I have everything crossed here anyway).
Debut full-length album from Italian punk rockers Smalltown Tigers who’ve been working hard as hell and putting in the miles on the road since 2020’s debut mini-album ‘Five Things’. I first caught them live supporting the original Damned when they played Hammersmith Odeon a couple of years ago and since then they’ve been honing their skills for this album and that hard work has indeed paid off because they have in their hands a mightily handsome record.
Firstly its noticeable how catchy these songs are, they’ve honed in on the fine art of shaving the best bits of The Ramones and clearly they were paying attention to the tone Brian James employs on those early Damned songs which in turn naturally puts the dial firmly in the Stooges territory which all wrapped up by these three talented ladies makes for some pretty damn good songs. Sure Runaways comparisons will drift across many reviewers’ notes when playing this record but there’s much more to it than that. The girls have clearly got that Garage Rock edge in their delivery and songwriting and that’s what elevates them to the next level. Not content with just playing on the fact it’s three ladies but going toe to toe with anyone in this genre and staying the course.
From the punchy opener ‘Meet Me In The City’ they nail the tone and feel of the record. The overdriven guitars are pitch and tone perfect as is the rhythm section to be fair but the breakdown and songwriting is on the money and with enough sass and catchyness to draw you right in. The first few tracks on any album are vitally important to keep the ears on you, especially for a new(ish) band the title track is sleazy rock n roll, and it’s struttin’ right out of those speakers.
‘In A Dream’ has that Ramones rolling riff and dreamy melody over the rough frayed riff. ‘Teddy Bear’ is pure early Brian James Riff-a-rama and that’ll do for me. Halfway through the album and that Ramones spirit is loud and proud on ‘I Want You’.
‘Maybe’ reminded me of ‘Pillbox’ by the Joneses on the opening salvo but with added knuckleduster delivery. The songs keep coming and the quality is maintained throughout which is no mean feat and the pounding relentless ‘Monster’ is a thrashing beast.
As we head into the home straight we get the fuzzed-up garage loveliness of ‘Dressed Right And Skinny’ before the gonzo punk rock of ‘Joey’ knocks you about with its punk as fuck relentlessness. The end is in sight and if you’re waiting for a slow number to take this one home then you’re going to be disappointed. ‘Killed Myself When I Was Young’ is a hypnotic savage from that riff through the hammering keys being hit with a sledgehammer before the saxophone hypnotizes us all. This is the sound of a band at the top of their game knowing they have just delivered a mightily impressive record and to be fair I think I’ve developed a ‘Crush On You’ three, you spoil me with these tunes. An excellent way to kick off 2024.
Unless you spent last year living under a sizeable rock, you’ll know that the flame of righteous rock n roll is safely in the hands of His Lordship. Since their debut single ‘All Cranked Up’, they haven’t put a foot wrong, releasing two EPs, one of the original songs and another of greasy cover versions.
The dynamic duo, often a live three-piece, are easily in the running for album of the year, alongside Black Bombers. The quality of songs and the levels of energy have set the bar mighty high for their contemporaries. From ‘All Cranked Up’ onwards, it’s a joy. Alongside the songs that you already know, there are five new ones, plus the recent release ‘Jackie Works For The NHS’, which shows that while the tunes have their roots in the 50s, their subject matter is more varied.
Which, given James Walbourne’s writing partnership with Chrissie Hynde in Pretenders, should come as no surprise. He’s a busy fellow, but His Lordship stand on their own terms. And Kristoffer Sonne sure knows how to treat his minimal drum kit to his best advantage. If you don’t already know the likes of ‘Buzzkill’, ‘I’m So Bored Of Being Bored’ or ‘I Live In The City’, you’re in for a treat.
‘The Repenter’ shows that their musical palette is broader than some may have thought, ‘Joyboy’ is yet another raw slice of rock n roll, somewhere between Johnny Thunders and Link Wray at their most ferocious. Speaking of the great Link, their instrumental ‘Cat Call’ is pure class.
‘Rock, Fall, Echo, Dust’ has licks that Brian Setzer would surely approve of, and ‘Pixellated Polly’ is a grinding, hypnotic riff. ‘My Brother Is An Only Child’ adds a little Cramps to the mix, but nothing here sounds forced; they clearly love the music. It’s increasingly hard to make primal rock n roll that sounds fresh and exciting, but His Lordship have the talent and style required to pull it off. This is an essential purchase, folks. Get it ordered and catch them on tour.
After last year’s sensational Vive Le Rock Awards at London’s O2 Shepherd’s Bush Empire, which we said would be our last, well… It would be rude not to come back and do it all again!
So, Friday April 12th will see the whole rock extravaganza steam roll into London’s O2 Academy Islington for another packed show of unique collaborations, celebrations and one-off performances. And 2024 is going to be a punky reggae party with a bill topped by original ’70s punks Jimmy Pursey and SHAM 69 and RUTS DC performing a special never-to-be-repeated set with special guests, we can also now announce an intimate performance from THEATRE OF HATE/SPEAR OF DESTINY man Kirk Brandon, special guest performances from the iconic TOYAH, rock n’ roll king JIM JONES and the one and only Saffron from REPUBLICA, as well as new UK punks GRADE 2 and Lily from fast rising punks THE MEFFS!
And that’s not forgetting the mighty VIVE LE ROCKERS all-star band, led by the inimitable Paul-Ronney Angel!
A five hour show with a full programme of awards, winners and celebrity presenters, there’s only one place to be in April and that’s the 2024 VLRs!
“It’s no exaggeration to say that last year’s Vive Le Rock Awards was many peoples show of 2023,” says Vive Le Rock editor Eugene Butcher. “And this year we have more unique collaborations, one off performances and special guests for a wild night for friends old and new to join together and celebrate these legends of rock n’ roll!”
Tickets and special VIP packages including aftershow party, VLR Two Tone Annual and special Awards T-shirt are available HERE:
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