Tylas Dogs D’Amour – Hanger 18, Swansea 19.09.25

Tylas Dogs D’Amour – Hanger 18, Swansea 19.09.25

It’s been a long time coming, but it’s good to be back. I was racking my brain (or what’s left of it) to recollect the last time I saw Tyla perform and decided it’s been a while, quite a while. From the early heady days of The Fleece in Bristol, when How Come It Never Rains was released, to the wonderful night in The Square Club in Cardiff, through countless London trips and the legendary nights in The Astoria, Hammersmith Odeon, The Dominion, Dingwalls, and Town and Country Club, and the classic line-up reforming to play The Borderline – hell, I even saw the band tear HMV Oxford Street a new one on an afternoon back in their heyday. It’s been quite the journey, and one I’ve thoroughly enjoyed. And of all the hundreds of shows I’ve ever had the privilege of attending some of the most memorable are when Tyla has been the ringmaster and principle performer.

With a truly magical album in tow, this line-up set out on a quick jaunt through South Wales and a couple of English shows. To say I was looking forward to catching Tyla would be a disservice to the guy’s catalogue of magical tunes.

Anyway, enough waffling on with the review. The band ambles on stage. And, without fanfare, rips into ‘Last Bandit’ and immediately I was transformed into a wonderful, happy place as memories washed over me, but there was no time to drift off. Focus, Daley; stay on task.

One of my favourite songs has to be ‘Firework Girl’, which was a rare treat, as Matty James Cassidy hit that bassline hard and Tyla sang the words like the last forty years had melted away. The big hitter came thick and fast, and happy punters lapped it up in the impressively busy venue. ‘Billy Two Rivers, ‘I Don’t Want You To Go’, and ‘Heroine’ chased one another out of the setlist with aplomb. The band was tight. And new guy Jamie Turnbull stepped into some pretty big shoes without dropping a note, and if he did, he was able to play such classics with sympathy and style, and from the engine room, the energy of the band was there for everyone to see and hear, and this long-time fanboy was suitably impressed.

It was great to hear more recent songs like ‘111’ and ‘All Of Them Gone’. sandwiched between golden oldies like ‘Satellite Kid’ and ‘Drunk Like Me’ with communal Jager for good measure. Tyla cracked jokes, told some quick stories, and played the jester and looked to be having a ball, and so he should. This had been a fantastic journey through some awesome tunes.

Let’s not forget Tyla J Pallas has a brand new album for sale, and we were also treated to ‘Baptism By Fire’, ‘Cadillac Man’, before walking us through a stunning rendition of ‘Don’t Ever Stop Loving Me’. As the night wore on towards its conclusion, we were dealt the epic one-two of ‘How Come It Never Rains’ and a bombastic ‘Errol Flynn’ to close off an inspirational performance from one of the best. Now, if all Friday nights played out this well and the soundtrack was this stellar, life would be just peachy all the time. Now fire up the Batmobile, we’re going to The Patriot for another round. It would be rude not to.

I thought the venue was perfect, but the band was just as good on night two, sounding impressive and doing justice to pretty much the same setlist but in a different running order. Now, let’s not leave it the best part of a decade before we do this again. That was bloody awesome. Chin, Chin and Cheers, Mr T. you bloody legend.

Author: Dom Daley

Then Comes Silence/The Foreign Resort – The Exchange, Bristol – 18th September 2025

Then Comes Silence/The Foreign Resort – The Exchange, Bristol – 18th September 2025

It’s 11 pm and I’m standing outside The Exchange, blinking my eyes in relief that I don’t, in fact, need a cataract operation after all. It’s the dry ice, you see, and these dark wave types bathe in the bloody stuff, so much so there are times tonight where I could have been on set at a Hammer horror film… But that’s the point; it’s all about setting the mood, and tonight the mood is brooding.

There was no way I was going to miss the return of Then Comes Silence, the undisputed kings of Swedish gothic gloom pop, to the UK, and thanks once again to the sterling work of promoters Reptile, they are also back in Bristol for the third time in just two years to keep all of us local(ish) boils and ghouls happy. The other great thing about a Reptile night is that they always pack it full of quality music, from the DJs spinning the graveyard dancefloor fillers to the support acts, and tonight The Foreign Resort are a new name to me but are a trio who immediately impress.

Hailing from Denmark, The Foreign Resort initially hit me like a Scandinavian Home Front (yup they are that impressive), with frontman Mikkel hanging off his mic stand whilst his bandmates Henrik (on guitar) and Morten (on drums) weave their widescreen sonic magic, but it’s when Mikkel picks up the bass guitar a few songs in that the band truly hits their stride. For a band who’s 16 year old back catalogue I’m totally unfamiliar with to instantly grab my attention, is ultimately down to just how immersive the Foreign Resort live experience is. Yes, there’s a HUGE Cure influence (largely due to Mikkel’s vocal stylings) but there’s also swathes of Killing Joke, Depeche Mode and (bringing things bang up to date) Home Front in their sound too.

‘Flushing’ is the track that really did it for me, a song I later discovered was released well over a decade ago. It’s Bauhaus meets Gary Numan, if Depeche Mode had written it…and it’s fucking fantastic.

Which is something I also seem to say quite a lot when describing tonight’s headliners to anyone willing to listen, and tonight Then Comes Silence are even more fucking fantastic than ever before.

Someone remembers to finally turn on The Exchange’s air conditioning as the band hits the stage with ‘Flashing Pangs Of Love’ and it’s almost like an evil entity has entered the room, as a shiver suddenly runs down my spine. There’s nothing evil about Then Comes Silence’s music, though, as guitarist Hugo pirouettes around the stage like a marionette Richie Manic, and to his right singer/bassist Alex thunders and growls away like Peter Steele if he’d been a veteran of The Blitz Club and not CBGBs, whilst songs like ‘Ride Or Die’ and newbie ‘Like a Hammer’ all pulsate to a hypnotic backbeat courtesy of the ever rock solid Jonas on drums.

I must admit that ahead of tonight, I was a little worried that if the band’s set were to lean heavily on tracks from last year’s ‘Trickery’ album, I might be a little lost at sea, as, thanks to a house move and the insane price of the CD online, I’d yet to fully absorb its gothic goodness. Fear not, though, as it’s just ‘Blind Eye’ along with the aforementioned ‘Hammer’ that (as far as I can recall) make it into tonight’s set. Otherwise, it’s banger after banger from the band’s hugely impressive back catalogue, and when the band tears into the likes of ‘Dead Cry For No One’ and ‘Warm Like Blood’ mid-set, I’m still left wondering how Nuclear Blast didn’t make Then Comes Silence the household names they so deserve to be. Well, on Mockingbird Lane at the very least.

There’s always something that makes me stop and take a step back at a Then Comes Silence show, and tonight it’s when Alex ditches his bass guitar for a stint at the keyboard, and the carnival-esque throb of ‘Feed The Beast’ has me thinking of early Roxy Music, whilst it’s ‘Strangers’ also from the band’s third album, that brings things to a close.

You know, after witnessing Suede deliver a post-punk/gothic masterclass in London over the previous weekend in support of their excellent ‘Antidepressants’ album, I’m pleased to say that Then Comes Silence more than matched them here tonight. In fact, if anyone has Brett’s number, give him a bell and get him to put these Stockholm lads on their UK and European tour in 2026, now that really would be something truly exceptional.

Author: Johnny ‘Nosferatu’ Hayward

Lipstick Vibrators – ‘Falling Down’ (Wanda Records)

Lipstick Vibrators – ‘Falling Down’ (Wanda Records)

I know punk rock ‘n’ roll happens in cycles, and whilst you wait for a void to be filled when one band of reprobates falls, you tend to hear several bands rise to the surface, and there’s no time like the present for a sleazy band of rock ‘n’ rollers to kick down the door with some rampant, distorted, sleazy rock ‘n’ roll. Lipstick Vibrators hail from the Seine and have been peddling their rock and roll since 2006, give or take a few hiatuses, but their brand of self-styled “Savage Rock’n’Roll” is most welcome from the dark, dank underbelly of Paris.

This, their third long player, is full to the brim of reckless wild riffs pushing their amps to the limit as they hack and slash through the weeds of rock n roll. The opener is a perfect example of what they’re all about, whereas ‘Revolution Baby’ enters Hip Priests territory with a thumping Stooges engine powering the rhythm along with some sleazy vocals barked out of a distorted speaker spitting punk rock n roll all over the listener. It’s suitably aggressive and wild, which is exactly what the rock ‘n’ roll doctor ordered for these wild times. It’s drinking music baby, dark and dangerous and bloody loud!

What’s not to like about the thunderous intro of ‘Partners In Crime’? It’s like pure Scabies- and James-inspired noise, and we totally approve. ‘Vivid Dreams’ is giving me UK Subs vibes on the intro, and then all hell breaks loose after the choppy guitar interlude.

‘Two Fisted Drinker’ is a beautiful, reckless noise; this album just gets better and better. In fact, it’s so sweet it could eat itself. Twelve songs in thirty-five minutes from top to bottom are loaded with bangers. ‘Burning Inside’ is a savage beast before the full-throttle whiplash of ‘Workers’ cuts loose.

Before we’re done, there’s the ragged ‘Do The Pop’ something of a Cramps-meets-Ramones speed paying homage to those who paved the way in some uber-cool punk rock genres. The Johnny Thunders guitar breaks are most welcome over the solid backbeat.

It’s not all crash bang wallop (almost but not quite). ‘Lockdown’ is a hypnotic rhythm and a more restrained charge with an emphasis on the groove and melody. Then, just to remind you what these cats are all about, they pull out all the stops for one last attack, and ‘Amphetamine’ is unleashed before we go back in for seconds. What a great record and a fine example of high-octane sleazy punk rock ‘n’ roll. Viva la Revolución, brothers. Go get a copy of this before it’s all gone.

Buy Here

IST IST – I AM THE FEAR

IST IST – I AM THE FEAR

“I Am The Song Stuck On Repeat… I Am The Fear”, warns frontman Adam Houghton, his baritone oozing with its trademark ominousness.

But rest assured, listeners, there’s nothing to worry about. Piled high with oscillating synth strokes, meteoric basslines, and stacked guitar tones, “I Am The Fear” is a single from the Manchester band that more than bears repeating.

The track arrives with an artistic official video directed and edited by Black Rock Creative and produced by Tom White & Mat Peters. Captured amidst the crumbling surroundings of a Victorian theatre, it features a captivating performance from actor Oliver Marson, alongside on-stage footage of IST IST.

Confident and catchy, ‘I Am The Fear’ arrives as the band’s first new recorded material since 2024’s ‘Light A Bigger Fire’. Produced by Joseph Cross and mastered by Robin Schmitt, it marks yet another bold step forward for a band who demand your attention more with everything they put their name to. 

With the promise of a new album looming, standby for further news on that front very soon…

Over the years, IST IST have forged a formidable reputation on word-of-mouth excitement, amassing a dedicated cult following in the process. Operating with a fierce northern DIY work ethic, the band have an ever-growing back catalogue of successful studio and live releases. Self-releasing their entire repertoire through their own Kind Violence Records label, the band’s output has been championed by BBC Radio 1 and BBC 6Music, Radio X, XS Manchester, KINK FM in the Netherlands, The Times and more.

Their acclaimed fourth record ‘Light A Bigger Fire’ reached 25th in the UK Official Album Charts in 2024, with John Robb praising the record as “glorious yet introspective 21st-century pop music” in a five star review on Louder Than War.

Taking the record out on the road last year, over 8,000 people across thirteen countries turned out in force at iconic venues such as the Paradiso in Amsterdam and New Century Hall in Manchester to support the band in what stands as one of their most successful European tours to date.

Riding this wave into 2025, IST IST returned to Europe for further dates including their SOLD OUT debut Italian shows, and subsequently released two live albums ‘ON FIRE’ and ‘Live In Italy’. The band are book-ending this year with a run of major shows back in the UK – in Leeds, Glasgow, London, and Birmingham across late November and December – as they celebrate their 10th year in business.

And in the last few weeks, IST IST announced their biggest hometown show to date. In 2026, the band will play the salubrious Albert Hall show; a show that presents both an unmissable opportunity to revel in the career high points of their decade long career, while getting a glimpse of their eagerly awaited new album.

Catch IST IST at the following UK shows:

IST IST – 2025/26 TOUR DATES

Friday 28th November – Leeds – Warehouse

Saturday 29th November – Glasgow – Oran Mor

Friday 5th December – London – 229

Saturday 6th December – Birmingham – O2 Academy2

Friday 1st May 2026 – Manchester – Albert Hall

w/ Support from DESPERATE JOURNALIST + THE YOUTH PLAY

Tickets for all shows are on sale here:

Carnage Inc. – ‘Carnage Inc.’ (Independent)

Carnage Inc. – ‘Carnage Inc.’ (Independent)

Indian thrash mongers Carnage Inc. have been around since 2011. They have built up a steady following through gigging intensely. Carnage Inc. have released an EP and a full album in the form of Tenebris, which was unleashed in 2019.

The band’s latest effort is a self-titled EP consisting of five tracks of molten metal. Carnage Inc. sounds like a combination of early Anthrax, Exodus and Testament, and there are tinges of more traditional heavy metal; Judas Priest, Savatage and Queensryche come to mind.

There are some absolute bangers on display here. The band are more than competent musicians, and they can write a metal tune or two. Pounding double kick drums, crunchy riffs and tasty guitar solos are the order of the day. The tracks are well constructed with great production. Epik is my favourite song on the EP. It reminds me of Fistful of Metal era of Anthrax with its raw production and full-on headbanging effect. I’ve played the EP many times since sitting down to review it. It really is fantastic. I’m off to check more of Carnage Inc.’s back catalogue!

If you love your ‘80s metal, be sure to check out Carnage Inc. and you’ll see that thrash is alive and thriving. Horns up!

Buy Here

Author: Kenny Kendrick

Station Nord – ‘Mind Control Radio’ (Tarbeach Records)

Station Nord – ‘Mind Control Radio’ (Tarbeach Records)

A fine production can help peak ones interest in a new album you know nothing about nor the personel involved the fact its on a label who have pedigree for previous releases like Heavy Drapes and New York Junk is enough fo rthis album to hit my player and sit back and let the sounds wash over me.

I’m instantly hit by the mixing pot o finstrumentation going on throughout the opening few songs, reminding me of Strummer and his X Ray Smilie period. Throwing everything at the mix from Melodicas, percussive hits n clicks it’s a liad back bass heavy dub zone on ‘Casino Ghost’ which follows ‘The Whip’ and ‘Blackhill Transmitter’ through the door of interesting post punk rumblings. There are flavours of Joy Division style, but not the cold concrete exterior, more in the vocal department from John McNeill. But the ghost of Strummer looks large over proceedings, which is never a bad thing.

Tune In and drop out for the ‘Prophets Of Dub’ which ghosts in on a meandering thick bit of Bass and atmospherics. I wouldn’t have minded some lyrics to help this one along though.

I’m a sucker for some heavy dub (who isn’t?). Side two starts with the excellent ‘Eye For An Eye’ which weaves a mellow vibe of dubtastic grooves. Continuing the Dub theme its like the late 70s UK and house parties with huge walls of speakers and dancing floorboards as ‘Can’t Blame The River’ washes over you with its horns n keys for good measure.

Sure, it’s not for everyone, and you have to be in the right frame of mind for a lot of this album, but when it does hit the bullseye, it’s great stuff. ‘Brittle’ has added vocals from Mella Barnes.

The album sails away on the sultry saxophone of ‘Million Miles’, adding another dreamy texture with some fine alternative pop I’m again hearing hints of Bernard Sumners songwriting style to compliment the already Strummer heavy influences throughout the album which is a breath of fresh air and proving it doesn’t always have to be loud noisy and chaotic it can also be the complet opposite.

Buy Here

Author: Dom Daley

AUSTRALIAS MINI SKIRT RELEASE NEW SINGLE ‘BEEN A WHILE’

AUSTRALIAS MINI SKIRT RELEASE NEW SINGLE ‘BEEN A WHILE’

NEW ALBUM ‘ALL THAT WE KNOW’ TO BE RELEASED NOVEMBER 14TH VIA BAD VIBRATIONS

PRE-ORDER HERE:

Five long years since their debut album ‘Casino’ snuck into the ears of punk enthusiasts around the world, Mini Skirt’s second full length album, ‘All That We Know’, is now ready to hurl at the world. The Australian pub-punkers continue to deliver their brand of jagged, raw political Aussie grit, delving deeper and leaning harder into their signature blend of Australian punk, ‘All That We Know’ solidifies Mini Skirt’s position at the forefront of a socially inspired noisescape.

Following the release of their ‘Pottsville River’ single last month, Mini Skirt are ready to lob another molten musical grenade at an unsuspecting music world with ‘Been A While’ – a hypnotic, grinding garage disturbance that in just over two minutes, manages to sound like The Fall colliding headlong with Eddy Current Suppression Ring.

“This track was written probably four or so years ago in our first proper writing session for the album, we’d hired a hall out in the hills behind where we live and stayed there for a couple of nights in sleeping bags on the floor,” remembers frontman Jacob Boylan. “I’d just got back from a visit to where I grew up for a funeral and was rattled by the mindset of the mates I’d grown up with that were at the funeral. It’s a bit of a heavy one. I loved the tempo of what the lads put together and fit my headspace like a glove.”

All grit and no glamour, Mini Skirt’s noisy new body of work is underpinned by lyricist and visual artist Jacob Boylan, painting a picture of the modern social climate, every verse and chorus a well-crafted and concise assessment that has the listener replaying each line to be sure they don’t miss a word. This is, as always, laid on top of the dirty, driving guitar/bass tones and skin splitting drums that have helped Mini Skirt to develop their own sound in a heavily saturated and competitive corner of rock’n’roll. Paying homage to Australian pioneers such as X and Radio Birdman, Mini Skirt’s sound remains raw and honest. 

Hailing from Byron Bay in the Far North Coast of New South Wales, the four boys in Mini Skirt produce a timeless sound that’s rough as guts and truly ensconced in the essence of pub rock that captures the climate of current-day Australia. Things aren’t always picturesque and idyllic; the vocals are urgent and frustrated while the music has a rawness and melody, sonically painting a picture of the hope through the struggle.

‘All That We Know’ lands mixed and mastered by Mikey Young (Eddy Current Suppression Ring, Total Control) and is due to be self-released in Australia and via London-based label and gig promoters Bad Vibrations in the rest of the world.

Pre-order ‘All That We Know’ HERE:

DEAD PIONEERS ANNOUNCE UK AND EU DATES

DEAD PIONEERS ANNOUNCE UK AND EU DATES

DEAD PIONEERS ANNOUNCE UK AND EU DATES FOR FEBRUARY/MARCH 2026

TICKETS GO ON SALE 9AM FRIDAY, SEPTEMBER 19TH

TICKETS AVAILABLE HERE:

Following their first UK and EU gigs back in May this year, Dead Pioneers, the indigenous punk rock band from Denver, Colorado are set to return in February and March 2026 for their first headline tour.

Supporting their critically acclaimed second album ‘PO$T AMERICAN’, released earlier this year through Hassle Records, the bands unique blend of spoken word, hypnotic post-rock and punk roots has quickly caught the imagination of music fans searching for something new, something real and a band with something to say.

“We’re excited to be heading back to the UK and EU,” says frontman Gregg Deal. “Our time there last spring was eye-opening and an overwhelmingly fantastic experience. As we continue to grow, we’re deeply moved by those of you who grow with us—giving us the chance to share our music, our message, and space together. In these tumultuous and uncertain times, we’re especially grateful to connect with like-minded folks in the joy of music. It’s all love, friends, and we’re moved by it. See you in the spring!”

Tickets go on sale this Friday, September 19th at 9am. Go HERE for tickets.

Support for all UK shows comes from Yakkie, featuring Janey Starling formerly of Dream Nails.

Dead Pioneers emerged as a dynamic extension of vocalist Gregg Deal’s performance art, seamlessly blending music with critical cultural commentary. Rooted in the same themes of identity and resistance that define his visual work, the band’s sound acts as a powerful platform for addressing the complexities of Indigenous experience. Deal harnesses the raw energy of punk and alternative influences to challenge prevailing narratives, using lyrics that provoke thought and evoke emotion. Just as his performance art confronts the legacies of colonization and systemic marginalization, Dead Pioneers – completed by Josh Rivera and Abe Brennan on guitars, bassist Lee Tesche (Algiers) and drummer Shane Zweygardt – engages audiences in a visceral dialogue about survival, resilience, and reclamation of voice. This musical endeavour not only amplifies his artistic vision but also creates a space for collective expression and solidarity, inviting listeners to reflect on the intersections of culture, history, and identity in a contemporary context. Through Dead Pioneers, Deal continues to assert that art, in all its forms, can be a powerful vehicle for activism and change. 

The band are currently playing shows in the US and working on new material and will start recording their third album later this year.

See Dead Pioneers at the following dates in the UK and EU in 2026:

February

26th UK Bristol, The Croft

27th UK Manchester, Rebellion

28th UK Leeds, Key Club

March

1st UK London, The Underworld

3rd NL Arnhem, Willemeen

5th DE Wiesbaden, Schlachthof

6th DE Stuttgart, Juha West

7th DE Cologne, Helios37

9th CH Zurich, Bogen F

11th AT Vienna, Arena

12th DE Munich, Backstage

13th DE Berlin, Cassiopeia

14th DE Hamburg, Hafenklang

Find Dead Pioneers online HERE:

Golem Dance Cult – Shamanic Faultlines’ (Self Release)

Golem Dance Cult – Shamanic Faultlines’ (Self Release)

Two years after the release of their debut album ‘Legend Of The Bleeding Heart’, Golem Dance Cult are back with 13 new songs colliding a rich Gothic undertone with heavy guitar riffs a groovy bass and dark glam vocals.

This time the Franco-Australian got some guitar help from Dick Dens (The Irradiates) on ‘Caveat Emptor’ and ‘God Is Holding His Breath’, Haydn Walker on ‘Ned Kelly’s Arms’ and Michael Gonthier (‘Soul Searcher’.) Organic drums were also added by Peter Micallef (‘Ned Kelly’s Arms’.) Australian singer Inga Liljestrom brings some shiny vocals and presence in songs like ‘Pretty At Dawn’ or ‘Shamanic Faultlines’ while old comrade of the duo Alex Zillon Jean adds some darker vocal vibes in ‘Escher Drawings’. Sure, there are obvious influences like Peter Murphy on the vocal style and maybe more of Daniel Ash on the production and delivery and use of some of the guitars. Let’s also throw some Newlydeads into the melting pot as well, but it’s not all dark, smoky goth at all ‘Beach Stroll’ has a Stooges vibe in its DNA, no question.

Instruments like cello (by Jean-Philippe Feiss), theremin (by Peter Miller), synth (by Locki Lockwood) or organ and Moog (by Boris Boubil) can also be heard on this new albu,m locking in some complex weaving soundscapes that are both charming and interesting as different things jump out of the speakers on each listen.

‘Pretty At Dawn’ works particularly well with the shuffle beat and strings, its haunting and alluring. Whilst the Banshees would love to have a go on ‘Personal Black Hole’, saying that, the middle portion of the album soars with ‘Ned Kelly’s Arms’ being a highlight. ‘When In Rome’ is like latter-day Japan.

If you want something left of centre and a bit dark with goth at its core, then Golem Dance Cult are your band, and this excellent album will spin you round and take you to the dark recesses of your mind and be the soundtrack. Get it!

Buy Here

Author: Dom Daley

Saxon take the Tygers out

Saxon take the Tygers out

ANNOUNCE THE SPECIAL ADDITION OF TYGERS OF PAN TANG TO THEIR CELEBRATORY ‘HELL, FIRE AND STEEL’ NEWCASTLE O2 CITY HALL SHOW ON NOV 11

The Mighty SAXON are pleased to announce the special addition of Tygers of Pan Tang to their celebratory Hell, Fire and Steel Newcastle O2 City Hall show on November 11th. 

Singer Biff Byford says: “When we first ventured out to perform Wheels of Steel for the first time 45 years ago, we were accompanied by our mates Tygers of Pan Tang, so it seemed fitting to invite them back to play a special set at our Newcastle O2 City Hall show (their home town) on November 11th on what will be our final ever performance of our classic album Wheels of Steel from start to finish in Newcastle” The whole evening promises to be pretty special with Tygers of Pan Tang performing a special celebratory set, followed by Dirkschneider performing the classic album Balls to the Wall in full, before SAXON round things off by playing the Wheels of Steel album as well as other fan favourites, hits and songs from the new album Hell, Fire and Damnation. 

The band’s Hell, Fire and Steel UK Tour is currently close to being SOLD OUT, so fans are advised to grab the last few tickets quickly to avoid disappointment, as this will be the last opportunity to see SAXON this year in UK and Ireland performing their classic Wheels of Steel album in full from start to finish. 

NOV 4 – Ulster Hall, Belfast (UK) [LOW TICKET WARNING]
NOV 5 – 3Olympia Theatre, Dublin (Ireland ) [LOW TICKET WARNING]
NOV 7 – O2 Apollo, Manchester (UK)
NOV 8 – Octagon Centre, Sheffield (UK) [SOLD OUT]
NOV 9 – O2 Glasgow Academy (UK) 
NOV 11 – O2 City Hall, Newcastle (UK)
NOV 13 – Beacon, Bristol (UK) [LOW TICKET WARNING]
NOV 14 – Civic Hall, Wolverhampton (UK)
NOV 15 – Hammersmith Apollo, London (UK)
NOV 16 – Great Hall, Cardiff (UK) 
For more information and last tickets for all shows go to 
www.saxon747.com/tourdates

Follow SAXON on: 
www.facebook.com/SaxonOfficial/
www.instagram.com/saxon.official
www.twitter.com/SaxonOfficial
www.youtube.com/PlanetSaxon
www.saxon747.com