The Godfathers will release a brand new ‘I Hate The 21st Century’ EP & also an expanded 2 CD version of their critically acclaimed ‘Alpha Beta Gamma Delta’ album that includes a cornucopia of previously unreleased bonus material.
The ‘I Hate The 21st Century’ EP (released 9th June) features the title track & ‘You Gotta Wait’ from ‘Alpha Beta Gamma Delta’ & previously unreleased, alternative acoustic versions of ‘Straight Down The Line’ & ‘Tonight’.
The 26 track, new double album entitled ‘Alpha Beta Gamma Delta PLUS’ (released 16th June) contains the original album on CD 1 & a wealth of unreleased material on CD 2 – studio numbers recorded at the album sessions, previously unreleased alternative acoustic versions of key songs & ‘Alpha Beta Gamma Delta’ related live tracks from the band’s celebrated Rockpalast TV special performance in Germany in 2020, including an electrifying cover of The Stooges ‘I Wanna Be Your Dog’. Full track listing for ‘Alpha Beta Gamma Delta PLUS’ will be announced soon.
The ‘I Hate The 21st Century’
EP & the ‘Alpha Beta Gamma Delta PLUS’ double album can both be pre-ordered NOW via
Making our way through the wretched hive of scum and villainy gathered on the streets of Mos Ei… sorry I of course meant…Newport, on route to entering our favourite local cantina bar, Le Pub, I’d perhaps be forgiven for thinking I’d actually stepped back in time, to a film set not from the 1970s, but in fact the 1960s and that scene in ‘Blow Up’ where David Hemmings walks in on the Jeff Beck and Jimmy Page version of Yardbirds rippin’ through a rough as they come version of ‘Train Kept A-Rollin’’. That’s because Finland’s finest rabble rousers US are in the house tonight opening proceedings for Jim Jones All Stars, and they are making an immediate (and very positive) impression on those of us in the sweaty confines of Le Pub early doors.
Having recently completed a set of UK shows in support of the fast rising His Lordship, US are not only a band seemingly out of time, but also out of this world, their music falling somewhere between garage rock and out and out old school R&B, with the Helsinki 5 piece not only winning the sharpest dressers in Newport award tonight, but also truly sounding like the real deal too. I could say they remind me of The Strypes, as they look as young as those Irish lads did in their early years, but no, these lads actually remind me of The Sonics, and that’s a world of difference in my book.
US are playing a series of UK shows this summer including a run of 5 shows at this year’s Glastonbury Festival, make sure you catch ‘em while you can, as these guys are going to be going places.
Having witnessed Jim Jones during his time fronting revolutionary psych punks Thee Hypnotics (first time around and the brief pre-Covid reunion), along with his roustabout Revue years and those most Righteous of Minds days, my most recent encounter with the singer/guitarist was at this year’s Vive Le Rock Awards in London where he briefly put a spell on us all fronting the house pick up band the Vive Le Rockers.
Why do I mention this? Well, simply because the 8-piece band that now makes up the collective known as the Jim Jones All Stars is like the perfect sum of all those already great parts…but (as some welly wearing comedian used to say) there’s more. Much, much more.
I’m not sure exactly what it is, but there’s times tonight where the All Stars sound like they could be Stax or Sun (oh and let’s not forget Bell either) Records recording artistes, there’s just so much soul emanating from the stage, and that extra little touch of class that the dual saxophones bring to proceedings is nothing short of musical genius.
For their hour on stage (which literally felt like it was over in the blink of an eye) we get reinventions of classic Revue tracks like ‘Cement Mixer’, ‘Burning Your House Down’, ‘The Princess And The Frog’, along with a truly off the scale ‘Rock ‘n’ Roll Psychosis’ plus there’s a seismic rendition of the Righteous Minds’ ‘Satan’s Got His Heart Set On You’ along for safe measure, something that very well might just have woken up any dozing Rontos chained up outside. (Jeez, I never do any Star Wars references and that’s two in one review). Plus of course there’s the All Stars very own anthem in the making, the hip shaking, ‘Gimme The Grease’, which really is a sign of truly great things to come.
Whilst a lot of the other bars in Newport would see cover bands playing in them tonight, I will bet my mortgage on the fact that none of those bands will have covered both ‘Run Run Run’ by The Velvet Underground, and ‘Everybody’s Got Something To Hide Except Me And My Monkey’ by The Beatles. Unfortunately, there’s no space in the set tonight for the band’s version Of ‘Human Fly’, aired during their inaugural live shows, but I’m more than happy to trade that in for the All Stars’ rendition of Thee Hypnotics’ ‘Shakedown’ that closes things out tonight. Wow! That really is all I can say, apart from this is how I always wanted to hear this song delivered live, and like the wise old sage stood by me during the show shouted in my ear, it really did “sound like The Stooges in their prime”.
With the clock ticking down to the dreaded night club early load out, there was just enough time for a whirlwind run through of the Revue’s ‘512’ before we were all being ushered out into the main bar and ultimately out into the maybe not quite as cold as usual Newport night air.
This long since sold out show will surely feature on many of its (very lucky) attendees’ gigs of the year list, and after seeing Jim Jones perform with all those aforementioned bands, I feel he’s really hit on something very magical indeed with the Jim Jones All Stars.
This is without question his finest hour yet, truly exceptional stuff!
Action Rock or Scandi Rock call it what you like – it’s alive and kicking (and screaming) as Dead Express will testify. With this album of loud guitars with some Garage punk rockin’ attitude Dead Express sing from the same Hymn sheet as the likes of Hellacopters and Gluecifer for starters and to be fair they do it really well.
‘Game Changer’ is the bands fourth album and I’d suggest you pull up a chez lounge and a couple of cold beers and get ready to sing along. Formed in Nyköping, Sweden. they’ve certainly not let the grass grow around their feet having produced albums consistantly with a sound DIY ethic the production is crisp and packs a punch.
The songs that come across the best are the ones with the big hooks either a riff or the gang vocals the opener ‘Roky’ has a good riff and the melody grabs your attention no doubt about it. ‘Hang Em High’ is one of the albums strongest songs. ‘Stinkin Rich’ is a badass tip of the hat to Angus and DC with a crisp riff. To be fair the Riffola is pretty relentless as the songs roll by and by the time you hit ‘Road Trippin’ with its fucked with ‘All The Day’ melody nicked from the Kinks and dragged through the dirt on the back of a drag car no doubt whist the band chug beers all the way. I dread to ask what ‘The Swamp Incident’ might be all about.
As the album screeches to a halt, there’s a track entitled ‘Method To My Madness’ – They couldn’t could they? Hell no is the answer to that, few some songs are sacrosanct and that might just be one of them. Their song of the Lord’s name is pretty decent as it wipes its snotty nose all over the song from the choppy riff to the punky melody and sing a long chorus it’s one of the best songs on offer.
This steaming rockin and rollin machine grinds to a halt with a balls to the wall all out rocker ‘The Naked Truth’ and then no doubt they all exploded into oblivion due to rockin so hard. If you want a full tilt sleazy Action Rock experience then Dead Express might just be the band you’re looking for otherwise step aside sucker because these cats aren’t stopping for anyone – they’re hellbound and outta control.
Short, stabbing blasts of lo-fi punk, recorded in the red, and unearthed after some years, Homicide Idols is an abrasive yet extremely satisfying listen. Get over the Lo-Fi sound (it hides a multitude of sins) it shows attitude and challenges the listener whether you like it or not. oh, and I guess it’s the ultimate punk rock sacrifice (just think endless nameless – everyone whose ever played that would love to hear it clean and not fucked). Influenced by the Germs to the mighty Dead Boys to the Reatards, this album has it covered with fuzzed-out, catchy guitar riffs and gravel-spitting vocals.
From the opening punk as fuck ‘Nothing To Me’ is like the Gaggers on 78 played through a biscuit tin. Choppy abrasive riff with a melody buried deep in the mix. I guess thats the bands modus operandi because ‘young, sick And Pissed’ is more of the same just played a little faster. If someone uncovered some Dee Dee Ramone demos under his bed then this is what they might just sound like.
I do love a bit of Lo-Fi and from the rattling snare intro of ‘Terminal Weekend’ I’m all in. I’ve invested my time in this and love it, The Johnyn Thunders guitar breaks are a joy and the fact it slams straight into ‘Dead End Life’ is a bonus. furious and fucked up – crack on gentlemen you’ve got your fingers on the pulse right here.
theres nothign original on offer here but some of these Riffs are sweet – take ‘I Want Blood’ it’s got energy and sounds like a speeding runaway train heading for the buffers and nobody gives a shit because we’re living in the moment and its rockin hard. The fact its barely fifteen minutes is no time at all and certainly not enough time to get bored of the thrashing about or low vocal. Hell on ‘you Got The Leather’ they even have time for a cool yet brief break down.
The album closer starts with a rapid Bass and drum workout (yup there is a bass guitar adding low end – I think) before thrashing off into oblivion covering the listener in gob and sweat whilst wearing a shit-eating grin. That album was a fuckin blast of unadulterated energy and fun and it just leaves time for me to say get on it and fuck them all this shit is da bomb!
Having been under the weather for the previous few days and still suffering from an infection a very busy O2 Bristol gives Libertines, Babyshambles frontman Doherty a very warm welcome in the spacious environment for an “intimate” acoustic performance. Peter is accompanied onstage by his two rather large dogs who stroll on and make themselves comfortable making the whole thing quite surreal.
I can’t help but feel that playing this kind of show would work so much better in a small compact venue but then a fraction of the people would get in but that’s the way it goes, the O2 is impersonal and cavernous for a one-man acoustic show even if it was a treat to hear some gems played this way by a writer who has written some of the best songs and lyrics over the last few decades. Doherty is a genius and it felt a treat and a privilege to witness the man perform in this way. Whilst he might well have been playign to a set list it certainly didn’t feel that way as Peter meanders through the songs finding a comfortable pitch and easing his vocal into the set whist interacting with the audience as shouts go out for favourite songs and classic cuts this is loose as Dylan and Richards and Wood at live aid (go find it) its Libertines heavy in the opening exchanges, ‘Music When The Lights Go Out’ is very early in the set along with a couple of Babyshambles choice cuts with ‘Bollywood To Battersea’ working really well.
Mid set we were treated to a fantastic ramshackled ‘Can’t Stand Me Now’ where the audience found its voice and joined Doherty for the best song written by anyone in the UK for decades. As we headed into the homestraight and Peters voice was showing little signs of wear that had him postpone a show a few days earlier ‘Don’t Look Back’, ‘Time For Heroes’, ‘What Katie Did’ went down a treat before ‘Last Of The English Roses’ was aired along with a new song entitled ‘The Barons Claw’.
Possibly the best song of the night was an epic version of ‘French Dog Blues’ before ‘Albion’ kissed goodnight to a really chilled night out where I witnessed people jostling in the pit to a one man acoustic evening which was cool. To be fair I love his lyrics and I’ll take his music be it with a rock and roll band or ensemble of musicians as well as on his lonesome. Peter Doherty is a poet and one of the United Kingdoms finest songwriters and to him stripped bare like this was a real treat.
We’ve been banging on about Texas singer/songwriter Ryan Hamilton since before RPM was even a thing, and for good reason. Ryan is an artist who always seems to be on the verge of breaking through with every new album, before some personal tragedy scuppers his plans and he’s back to square one.
They say what doesn’t kill you makes you stronger, well that all depends on what is trying to kill you, I guess. In Ryan’s case it could be a cheating first wife, addiction, divorce, online abuse, the record business, cancelled tours and most recently…a delayed album due to manufacturing errors. All the above have happened in the last decade and you really couldn’t make it up, but Ryan is still soldiering on, and thank your lucky stars he is.
‘Haunted By the Holy Ghost’ follows his 2020 break up album ‘Nowhere To Go But Everywhere’ and the following lockdown album ‘1221’. Produced by go-to-guy Dave Draper who also plays bass, along with Ben Marsden on guitar and Carol Hodge and Emily Ewing on backing vocals. It was recorded at Draper’s studio The Old Cider Press and Ryan’s home studio in Texas, making the whole album a transatlantic power pop affair.
The opening song ‘Asshole’ shows Ryan’s current attitude towards the music business. It was released on Valentine’s Day as an act of self-sabotage guaranteeing zero radio airplay, which is maybe a silly idea if you are a struggling artist wanting airplay, but I’m sure he knows what he’s doing…. but its ok, because this album is choc-a-bloc with singles!
The title track is classic Ryan power pop, a radio-friendly earworm inspired by his Catholic upbringing. With an infectious hook and a euphoric feel, it is an early highlight. ‘Paper Planes’ again, is the sort of song Ryan first showed promise with on ‘Hell Of A Day’, full of quirky, power pop goodness and a euphoric middle section that takes it up a notch.
Ryan is never shy to pen an 80’s style power ballad or two, and for this album he has outdone himself. There are two ‘lighter in the air’ moments that could end up on future teen lovers’ mixtapes. The first ‘Overdose’ is not about drug addiction, but about falling madly and deeply, like ‘first love’ deep or ‘marriage material’ deep. You know, right? We’ve all been there. Elsewhere the emotive ‘Absence Of Love’, lyrically is the complete opposite to the aforementioned ‘Overdose, while full of heartbreak and yearning, it is still as emotive though.
A cover of Splender’s ‘Yeah, Whatever’ is given a lick of aural magic by Ryan and Dave Draper. Indie beats and those quirky vocals give the turn of the century alternative hit a new lease of life, as they do with George Strait’s ‘All My Exes Live In Texas’. This fun run through was a past single but shows its face here as a hidden track (it’s a homage to the CD era, kids!) after the closing song of the album.
‘Sad Bastard Song’ officially closes the 12-track album, and it is the best song here for several reasons. For one, I just love the countrified acoustics and pedal steel guitar vibes, and secondly the tongue-in-cheek lyrics may on the surface make it seem like a throwaway, comedic song for losers, but the stark reality is that these lyrics are from the heart and probably ring truer than you would think, and it’s probably my favourite song on the goddamn record.
It’s a sad fact that some of my favourite artist from the last 30 years will never get the commercial success or the critical acclaim they so rightly deserve. Times are tougher than ever for the underdog, but only one thing can make a difference…you, the music buying public. It would be a tragedy for an album this good to slip under the radar when it should be up there with the Adele’s and the Tayor Swift’s of the world, but how can Ryan compete with those big guns? Who knows, but maybe if when you finish reading these words, you were to click a link and buy this album, that would help just a little. I mean, c’mon, it’s worth it just for that cover art of Jesus in shades, right?
The sun is still blazing in the sky over a hot and sweaty Barcelona evening as a line of people zigzags up a metal staircase to Club Razzmatazz where a packed out room is bathed in dry ice as the PA creaks to ‘Tadeusz (1912-1988)’ and the already sweaty audience breaks out into a heaving mass of football sing-a-long excitement before the band walks on for one last hurrah around Europe on the Deja Vu tour.
The few times I caught The Mission last year they were on fine form breaking in the new drummer just ahead of the UK tour post covid lockdowns and they were (pardon the pun) on a Mission and full of energy. Barca expects and as the band winds up ‘Beyond The Pail’ the club is jumping and with hardly any room to breath its a heaving mass of swathing bodies singing along and I’m imediately taken back to the early days where packed clubs like Bristol Studio or New Ocean Club in Cardiff would see you carried along in a sea of bodies well this was like that. ‘Tomorrow Never Knows’ was played early doors before the band lashed out ‘Serpent’s Kiss’ and an enthusiastic ‘Over The Hills’ this was warming up to be something special.
The sound was good and the band sounded well rehearsed and full of energy. With a great mix of songs from way back to more recent offerings, it was ‘Within The Deepest Darkness (fearful)’ when we could take a breather and take in just how bloody good a band the Mission are. The show was taking shape in manageable chunks as the audience sang back every word from the epic ‘Kingdom Come’ and ‘Stay With Me’ it was ‘Butterfly On A Wheel’ where Wayne let the audience sing back to him and I think he was impressed how loud and in tune it was. the main set was brought to an end with an energetic ‘Wasteland’ before ‘Deliverance’ saw the band leave the stage for the first time. A dozen songs had just flown by and I’d found myself in a pocket of air towards the front as the band returned for a trio of songs culminating in an exhilarating ‘Crystal Ocean’ that was the highlight of the set for me. How or why I don’t know but tonight I was moved by this song even though I’d heard it live dozens and dozens of times the whole experience was uplifting and life affirming and I love that Rock and Roll can do that even in a sea of top tunes one will stand tall.
The band left the stage for a second time before Wayne returned alone to announce that one of the band needed a toilet break but would say who so it was left for a welcome return of ‘Love Me To Death’ which only left an epic rendition of ‘Tower Of Strength’ before it was done leaving only Wayne and Simon to twist out a feedback soaked ‘You’ll Never Walk Alone’ and then it was done. Off to Madrid for one last time as we filed out into the warm night air happy I’d once again seen The Mission deliver the goods and cement their place as one of the best live bands still treading the boards.
I know they’ve alluded to this possibly being their last foray into Europe but I’d ask they reconsider that and maybe do it one last time next year or the year after and I’ll be there and by the looks of it so will a lot of others. Another night of Deja Vu with the awesome Mission. Gracias amigos.
There’s nothing better than the feeling of the sticky floor of your favourite local live music venue on a rainy Sunday evening, but just like the time just under a year ago when I first encountered tonight’s headliners live, I regret to say that once again the Covid social media warriors who swore they’d be at every gig if a venue would be brave enough to open during lockdown. appear conspicuous by their absence, I bet they’re probably all at home too busy posting about the national alert signal they didn’t want to go off on their mobile just a few hours earlier.
Ho hum, still those of us who are in da house, and I see quite a few new faces amongst those parting with their £8 (yup you can still do gigs for under a tenner folks) at the door, are in for a right rollicking night of live music make no mistake, and I can think of no netter way than starting things off than 30 odd minutes in the company of Chepstow based punk rockers Bottlekids.
Having not seen the trio live in quite a while it’s interesting to see (and hear) they’ve not only added a feisty cover of 3 Colours Red’s ‘Mental Blocks’ to their set, but also (to my ears at least) moved ever so slightly away from the more pop/punk edge or their earlier sound into a harder more aggressive direction. There’s still plenty of hooks and “woah ohs” to enjoy, but the band themselves appear have really grown as songwriters via their 2022 ‘Zilch!’ EP pushing the needles well and truly into the red and live they really are one hell of crack unit. Bottlekids really have been beavering away on the live front recently, playing gigs right across the country, and with plenty more shows on the itinerary for the rest of 2023, make sure you get out and support them, because as we all know, it’s always nice to discover a great new band you’ve never seen before (or in this case, not in a good while).
Which is exactly how I discovered tonight’s headliners, Californian R&B surf stompers The Atom Age. Sauntering in off the street eleven months earlier half realising a band I’d heard via a YouTube video a friend had sent me were playing Le Pub and then immediately being blown away, tonight, is going to be my first proper encounter with the 12 legged rock ‘n’ roll monster, as this time around I come prepared with a knowledge of the band’s back catalogue, but will it prove to be just as impressive as that initial encounter?
Well, it takes just a few seconds of opener ‘Honeybees’ to answer that question. Shake, rattle and rolling the always impressive Le Pub sound system The Atom Age launch themselves into action like an MC5 shaped musical torpedo and they aren’t about to miss the target. We, the audience. It’s fascinating to watch six musicians so seemingly different (visually at least) gel into such a formidable live force. From the Wilko Johnson meets Howlin’ Pelle Almqvist antics of singer/guitarist Peter Niven, to the Pål Pot Pamparius of the farfisa Fred Brott, there is an explosive edge to the band that is only balanced out by the uber cool saxophone licks of Brendan Frye and (and I’m still chuckling at the one) the young Jack Jarvis charms of anchor-man MC guitarist/singer Ryan Perras. Add to this the substantial bottom end powerhouse drummer Fat Tim and bassist Kevin Mohn and you have a band able to level audiences and venues in equal measure.
Set list wise the band are (perhaps understandably) still out on the road promoting their Covid impacted 2019 album ‘Cry ‘Til You Die’ (available tonight for just £10 on vinyl and £5 on CD folks…are you listening The Bronx?) as though it is a new record, and there are some actual newer tunes like ‘Til We’re Shakin’, a track custom made for any upcoming Tarantino soundtrack, plus the frantic BRMC-like set closer ‘I Was A Rock ‘N’ Roll Narcissist’ that indicate the future does indeed sound great for The Atom Age.
Of the older Atom Age tunes aired tonight it’s still ‘I Hypnotize’ that flicks all the switches for yours truly, the tune sounding not unlike an unreleased cut from ‘RFTC’ era Rock From The Crypt, and who couldn’t love that?
Elsewhere the aforementioned ‘Cry ‘Til You Die’ album gets represented by its soulful and sassy opener ‘Love Is A Numbers Game’, the strutting ‘Walk Through Walls’ and perhaps that record’s best cut, the glorious beetle crusher stomp of ‘Never Looking’ with its divine “woo-oo” vocal breakdown, all delivered to absolute perfection.
And if its something from the Blag Dahlia co-produced ‘Hot Shame’ album (also available for just £10 on vinyl and £5 on CD folks) you are looking for, then there’s the Hives on steroids blitz that is ‘It’s A Mess’ plus the album’s equally excellent title track for you to shake your Sunday night tail feather to.
The only downer for me tonight was it was all over way too soon. The Atom Age really are a very special band indeed, flying just under the punk rock cool radar (which at the moment seems to be distracted by any band coming out of Australia) but just the same delivering total annihilation wherever they play.
Catch The Atom Age wherever you can… they are incredible!
Ah ‘The Decca Years’, It’s the first time on vinyl (other than the picture disc version), Finally Sparrers Decca years gets it’s dues.
Thanks to Cherry Red Records you can now add this fantastic record to your collection. Fourteen tracks pressed on black vinyl for the first time it features everything seminal Oi! band Cock Sparrer recorded during their time with Decca Records in the late 70s. Bosh!
Of course, it’s therefore crammed with classic live favourites, ‘Runnin’ Riot’ and ‘We Love You’ plus ‘Sunday Stripper’. It’s in great company here rather than just buried on the legendary ‘Oi! The Album back in the day. still revered as the go-to scene compilation and is often fondly talked about in punk rock circles because of the inclusion of songs as good as ‘Sunday Stripper’.
As with many Sparrer records this one is limited, so if you snooze you will lose. To draw you in, this version comes in a splendid gatefold sleeve complete with an inner picture collage and stacks of memorabilia from the era. Current guitarist Daryl Smith has overseen the artwork layout and therefore it has the authenticity it deserves from inside team Cock Sparrer. It adds to the release and you’ll love it when pouring over the pictures as the album blasts out of your speakers.
It’s hard to believe it was the bands 50th Anniversary recently and many of the tracks featured on this compilation are still the staples of their current live set and stand tall alongside more recent tunes.
‘Running Riot’ is a great opener and the aggressive punch of ‘Chip On My Shoulder’ sounds exactly as the title suggests. If you are new to Cock Sparrer then this is the perfect place to start your journey down that rabbit hole From the snarl in McFaulls vocals to the rawness of the riff, culminating in the solo that hacks and slashes, it’s such a great song. There is no chink in the armour of Decca era Cock Sparrer, not for a single seccond does the energy drop, nor does the quality of songwriting, Mixing punk rock with hard rock wasn’t easy back in the 70s but Cock Sparrer used their influences when songwriting from the hard rock of ‘Platinum Blonde’ and the twin guitar duelling to the amped up charge of ‘Teenage Heart’ these songs are simply brilliant and to say that after 50 years is not to be sniffed at. There aren’t many artists who can claim to have written songs that still sound fresh after four decades.
Had Slade or Thin Lizzy boogie Woogie like ‘I Need A Witness’ people would have championed it for many years no doubt about it. That’s not even going near the classics like ‘Sunday Stripper’ that had someone like Steve Marriott penned it would be huge, I kid you not but these influences are all in these songs even the snottier punk songs.
When you get to ‘What’s It Like To Be Old’ you can smile back and say it’s alright to be fair, even if I’ve waited this long to get these on one LP in their original state this old lark has such a great soundtrack. The Decca Years is an essential purchase for anyone who loves guitar-based Rock n’ Roll exactly how it should sound. But take my word for it you’ll have to be quick because these will be snapped up sharpish. Lace-up those Doc Martins and get a sprint on – this will sell out. Buy It!
Hot on the heels of sharing the news of their upcoming album “Electric Sounds” last week, Danko Jones has now announced European & UK headlining tour dates for November and December 2023.
No band has ever sounded more ready to hit the road than the pumped-up threesome showcased on the hell-for-leather ragers featured on their forthcoming album. Armed with this collection of brand new bangers, Danko Jones launch themselves into 2023 on a renewed mission to rock the living shit-lights out of anyone and everyone that wants to join the party.
Frontman Danko declares: “We love touring in the UK and thankfully we are coming back! What’s not to love when you play in front of crowds that know their rock and know how to rock out?! Every day is just one more day we have to patiently get through until the tour starts. I think you can tell I’m already very ready to do this. Give me a guitar and get me to the stage NOW”!
Special guests for the dates will be US punk squad Radkey.
European & UK Tour Dates 2023: 11/14/23 Helsinki (FI) – Tavastia* 11/16/23 Zwolle (NL) – Hedon 11/17/23 Luxembourg (LU) – Den Altier 11/18/23 Leuven (BE) – Het Depot 11/21/23 Copenhagen (DK) – Pumpehuset 11/22/23 Oslo (NO) – Rockefeller 11/24/23 Stockholm (SE) – Debaser 11/25/23 Malmö (SE) – KB 11/27/23 Arnhem (NL) – Luxor Live 11/28/23 Cologne (DE) – Essigfabrik 11/29/23 Berlin (DE) – Festsaal Kreuzberg 12/01/23 Aschaffenburg (DE) – Colos-Saal 12/02/23 Leipzig (DE) – Täubchenthal 12/03/23 Porthcawl, Trecco Bay (UK) – Planet Rockstock 12/05/23 Lindau (DE) – lub Vaudeville 12/06/23 Zurich (NL) – Dynamo 12/07/23 Milano (IT) – Legend Club 12/09/23 Paris (FR) – Backstage by The Mill 12/10/23 Bergen op Zoom (NL) – Gebouw T 12/12/23 Bristol (UK) – Thekla 12/13/23 Glasgow (UK) – King Tuts 12/14/23 Nottingham (UK) – Rescure Rooms 12/15/23 Manchester (UK) – Rebellion 12/16/23 London (UK) – Garage * (no Radkey)
Set your alarm! Pre-sales for tickets begin at 10am BST, Wednesday 19th April. Tickets go on general sale starting at 10am BST on Friday 21st April. For all ticketing links and more information, click here.
In addition, Danko Jones are confirmed as main support on Sunday 3rd December at the rifftastic extravaganza that is Planet Rockstock, taking place in Trecco Bay, South Wales and marking its10th anniversary this year. Tickets for that event are on sale now.
Toronto’s archbishops of amplification prove that even a global pandemic couldn’t stop Danko Jones. As first album single “Guess Who’s Back” clearly displays, it just made them even more unstoppable. “‘Guess Who’s Back’ is not only the lead-off track to our new album, ‘Electric Sounds’, it’s also the imperative sentence everyone is begging to answer – Danko Jones”, quips charismatic frontman Danko.
“Electric Sounds” promises to have the instant sound and feel of a classic. With no need to reinvent the wheel, the group have further honed and refined their craft – always at full volume – although Electric Sounds is a deceptively diverse affair. “Electric Sounds” was produced by Eric Ratz, and features guest spots from Tyler Stewart (Barenaked Ladies), Damian Abraham (Fucked Up) and guitarist Daniel Dekay (from Canadian thrash legends Exciter).
“Electric Sounds” was produced by Eric Ratz, and features guest spots from Tyler Stewart (Barenaked Ladies), Damian Abraham (Fucked Up) and guitarist Daniel Dekay (from Canadian thrash legends Exciter). Slated for a release on September 15th, 2023, through AFM Records, the album pre-sale has just started here.
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