American Jetset arrived in the world a little over a year ago and immediately impressed me on their debut EP ‘Live Love Die on Main.’ It quickly became a fixture in my rotation for the rest of the year. This release I suppose could fall in the mini-album category at six songs plus an intro. If you rewind 35 years, these songs would now be lodged into your brain by being played over and over again over the years as they would have been stars on the Sunset Strip, but the nice thing is American Jetset injects a healthy dose of a modern feel into their sound.

‘Welcome to Devil’s Canyon’ serves as a brief intro track that takes across the desert and into town as the train passes by. Drums rise in the background until we hear a woman scream that takes us into the sleazy awesome ‘Walking Contradiction.’ I love the bass intro by Kevin Harrington as it really sets up the entire song. With a sleazy groove that reminds me of early Faster Pussycat with some Junkyard added into the mix, this one contains a great hook in the chorus both vocally and musically. Ian Kaine MacGregor (also guitar) possesses a voice that can be really smooth but can also carry a slight sleazy whine when it is needed.  ‘Gold and Nines’ keeps up the excellence with a commercial feel, huge chorus, and plenty of guitar licks throughout the song to make you break out the air guitar. They even add in a part totally designed for a crowd to sing the chorus with them which makes it extremely contagious on even a first listen.

Lance Reeder and MacGregor have loaded these songs with plenty of guitar riffs and solos so even the mid-tempo ‘One More Time Around’ features an excellent riff and a vibe that just screams celebrating life, this moment, and blocking out whatever wall reality may be ready to throw at you. It makes me wish I had the ability to play guitar. They take a slight turn on ‘Getaway Car’ which adds the slightest of twangs to the music but is in no way a country song as it is still clearly a rock song, just more subdued. The backing vocals give it some nice depth, and the guitar solo works perfectly.

‘1000 Ghosts’ features a quick riff that provides an immediate hook to the song that sticks to you like maple syrup on your feet. They then lay into a catchy chorus that will likely find you singing along as you’re bouncing around the room, car, etc. The final song ‘Never Be Goodbye’ provides that acoustic campfire kind of send off that works perfectly for this release. As the band’s stature grows, this could turn into one of those moments where it is just the crowd singing and clapping as the band prepares for an encore.

At just about 20 minutes, there are no wasted moments here. It is over way too fast and leaves you wanting more. The solution is, of course, to play the whole thing over again, and, if you don’t have them yet, I recommend adding the first EP and the ‘This Ain’t Hollywood’ single to your mix for more of a full album experience. American Jetset crashed into my world over a year ago because of their great songs, and this release shows that they were not a one-trick pony. Pick up this album and prepare to sing your butt off while these songs remind you of how good music can make you feel.

‘Saloon Rock Whiskey Pop’ is available now.

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Author: Gerald Stansbury

 

 

 

 

After the tragic death of Scott Weiland, I (like many other STP fans) had no interest in new music from the band with a new singer, especially an X Factor contestant. The recruitment of Jeff Gutt just reeked of Rockstar INXS to me and it felt like a betrayal on the legacy of their enigmatic frontman. No one could replace Scott Weiland, surely?

But, look at it from their point of view. Dean and Robert Deleo, along with drummer  Eric Kretz have a hell of a back catalogue, one that took them to the top of the charts back in the ’90s, and why should they not continue to write, record and tour as that band? Let’s face it, many bands have continued and even become more successful after the loss of their singer (AC/DC anyone?).

That said, I gave their last album a wide birth and had no interest in the band until word filtered through of an acoustic album they had recorded. Ever since their famous MTV Unplugged session back in 1993, it seems STP were destined to release an acoustic album, it was just a matter of when.

 

‘Perdida’ was self-produced by the band and recorded at Eric Kretz’ Bomb Shelter studios. Using vintage instruments and exploring themes of loss, death and goodbyes, (Perdida literally means loss in Spanish) the band has crafted an introspective album that sees them bare their souls, as they come to terms with the grief and sadness that has filled their lives in recent years.

Opener ‘Fare Thee Well’ is an uplifting, monumental song. Lyrically about lost love, yet full of sentiment and hope. The ghost of Scott Weiland is all over this track, Jeff’s vocals bare an uncanny resemblance, and there is no denying it. And it sort of makes me feel uncomfortable like I shouldn’t really be liking it…but I do, I really do, the hairs standing up on the back of my neck don’t lie.

Dean’s folk-inspired guitar intro leads to a heartbreaking melody that builds and builds to a glorious chorus, with almost gospel-tinged backing. The drums are powerful yet understated, giving a solid base for the instruments to breathe life into a song that is utterly beautiful after just one listen. It sets the tone for the album and sets the bar very high indeed.

With a ‘less is more’ approach to this album, the sparse arrangements create space and the rustic instrumentation is added only where needed to accentuate the songs. Here, the addition of flute, alt sax and guitarrone add another dimension to the STP sound.

The likes of ‘She’s My Queen’ could easily be a bombastic rock song with different production and arrangement, yet here stripped back to bare bones with open chords and lush harmonies, it shines.

‘Three Wishes’ could have sat nicely on the more experimental third album ‘Tiny Music..’. Dean’s signature slide guitar and Robert’s bass runs certainly hark back to that era of the band. Similarly, ‘I Didn’t Know The Time’ with its flute solo and jazzy, lounge feel is something the band has toyed with in the past and here it sits remarkably well.

Nylon string guitar takes precedence over the Spanish influenced title track, it comes on a bit too Euro-folk for its own good for me, but ‘Years’ with its lazy, sun-drenched California vibes, has an almost Beach Boys meets Simon and Garfunkel feel.

Big mention for the folky ‘Miles Away’ that flows on a killer vocal melody and swathes of mournful violin, giving a rustic Parisian feel, more in line with The Urban Voodoo Machine. This is a glorious song – make no mistake.

 

Stone Temple Pilots have delivered the album they have always hinted at making. And while ‘Perdida’ is a departure for the band and something that has been brewing for years, it is still very much Stone Temple Pilots by name and by nature. There’s a newfound vulnerability to the band that brings to mind Alice In Chains classic ‘Jar Of Flies’ acoustic album.

Hauntingly, the ghost of Scott Weiland looms over every chord they play and every note that Jeff sings, it probably always will. Haters are gonna hate, but I for one think that these songs are too good to ignore and am totally surprised and grateful that Stone Temple Pilots have delivered an album I never thought I would hear, and to be honest it has made me fall in love with this band all over again.

Buy ‘Perdida’ Here 

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Special release to raise money for wildlife injured in the Australian bushfires. All proceeds will go to Wildlife Victoria.

This digital download of ‘Thylacine’ includes a bonus, previously unreleased track ‘Song of Murray’s Brigade’, an adaptation of a 1940 poem by Australian bush poet Banjo Paterson.  Purchase Here

Suzie said about this fundraiser, “ I have been completely heartbroken watching the destruction caused by the fires in Australia. I’ve created a special release to raise money for Wildlife Victoria to help injured and displaced wildlife.

This digital release of ‘Thylacine’ includes an exclusive, previously unreleased bonus track called ‘Song of Murray’s Brigade’ which is an adaptation of a 1940 poem by Australian bush poet Banjo Paterson. It was recorded at the same time as ‘Song of Artesian Water’ (another adaptation of Paterson’s poetry) though hasn’t been available to purchase previously. The song is stripped back with acoustic guitar and Gareth Skinner on cello.

Many of the species that have been affected by these fires were already threatened or endangered due to factors such as habitat loss from land clearing for agriculture and urban development, invasive species, and pressures from extreme heat caused by climate change and ongoing drought. These fires pose a huge threat for their ongoing survival, but we still have a chance to help and ensure that they don’t end up in the history books next to the thylacine (now extinct).

The cost for both tracks is £5, though you can pay as much as you want. 100% of proceeds will go to Wildlife Victoria. This release will be available for a limited time. Every little bit helps”.

 

Suzie Stapleton – vocals & guitar
Gavin Jay – bass
Jim Macaulay – drums
Gareth Skinner – cello

 

To make a contribution click: Here

I can’t remember where or when I first heard Red Arms it might well have been one late night when I vanished down a Bandcamp wormhole and just happened across ‘Better Than Nothing’ the second track on ‘Critical State’. Maybe the first thing I noticed was they were Canadian and to be fair they throw up more than their fair share of great records in recent years.  Post punk, Power pop or alt rock  whatever you want to call it  Red Arms dish it up in spades and have made a most excellent long player.

I’ll level with you I don’t know anything about the band when I went looking for details and previous work I struggled to find anything  so it was a real discovery for me .I hear some Husker Du and The Who as well as more modern alternative bands like some Buffalo Tom and Anti Flag as well for good measure so a real melting pot but the production is bright and the songs sound well constructed and worked on. The album kicks off with ‘Post Punk’ which has something of a Stooges riff and rhythm about it and to be fair its more No Means No or Fugazi than anything else.  Its got energy for an opener and it’ll reel you in for sure. As the record unfolds the songs tend to settle down to mid paced efforts but with strong melodies and harmonies take ‘All This Noise’ as an example.

‘Midwinter’ builds around a bass rumble but a bit of an epic as the first minute takes its time to get going but by the second minute things get rockin’.  To be fair the second half of the album only gets stronger for me and I love the groove they get in on  ‘Pathetic Charms’. If you like a thumping bass rumble then ‘Huckster’ is for you before it starts thrashing around it ebbs and flows through some tempo changes.

To be fair I hear different influences on every play but they’ve managed to create a really listenable sound with a bunch of top tunes. Red Arms are another fine string to Canada’s impressive bow of Rock and Roll bands strutting their stuff this being immersed in the alternative underground but full to bursting with excellent melodies and tunes.  Go check em put but don’t hold me responsible for starting you off down that wormhole of discovery but it will be worth it.

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Buy Critical State Here

Author: Dom Daley

Duff McKagan releases a video for ‘Cold Outside’. A great song with a greater message.

Take Action – Enter To Win A Signed Fender Bass – Share/Volunteer/Donate today via Propeller: Here

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Seeing as its Christmas why not enjoy a couple of Christmas choons starting with Michael Monroe and his inclusion on this Crimbo classic from Saara Aalto

Finally to get you all in the mood here’s a banger from The Breakdowns ‘Christmas Time Alone’

I’d still describe Clowns a new band  but then they’ve been doing this hardcore rock n roll lark for six years which would hardly make them new really, it’s a tough one but one of the best records released this year without a doubt is ‘Nature / Nurture’ and its a great move on the face of it signing for Fat Wreck Chords. About eighteen months ago I stood in the Ballroom at Blackpool Winter Gardens in the early afternoon and watched Clowns own the day and turn in a pulverising and quite beautiful set and that was before we even had a sniff of the latest album (which, Incidently is their best by a country mile)  and before that I’d seen them in one of the smallest stages of the festival a year or two before that where they’d just released ‘Bad Blood’ and that was a brutal – pulverising performance that made those present sit up and take notice of these Australian loons kicking the shit out of our ears with their punk rock.  Wind forward to a cold November in Bristol as part of their jaunt around Europe in support of Nature/Nurture’ Clowns are in the motherfuckin’ house boys and girls and it’s a school night and the place – whilst not packed to the rafters is in decent shape and very busy indeed.  Anyway rewind the evening a little and first up is three-piece Glug.  Two ladies on guitar and Bass swapping vocals in the briefest of sets that was basically ten minutes and a bit but ten songs and plenty of between-song banter. they were never going to steal the show they knew it and we knew it but it was great to see them doing what they do on a school night.

Next up were the four-piece local lads The Broken Bones Gentleman’s Club. who to be fair have been around the block and are used to this kinda Monday night punk rock show as they proceeded to smash out their tight set of Hardcore punk rock for the next twenty-five minutes or so.  Flip is a bundle of energy and turns the screw on the rest of the band as they get pushed harder and faster and tonight it really works.  Cookie is our prowling the audience poking for a reaction and its working.  Tonight The Broken Bones Gentleman’s Club are smashing it (as the kids say) as for what they played I couldn’t even begin to break it down as song titles were irrelevant. Maybe they played ‘Reasons’ maybe they didn’t but what mattered was tonight they were on form and took no prisoners and impressed those who’d bothered to turn up on time and give these punks the time of day.  Great effort.

Finally, Clowns are ready as the busy venue is up for what is about to unfold and I’ve been looking forward to this since it was announced. Stevie has a sharp new haircut (since last time) and after a few stretches were ready to go and without any fanfare and ‘I Shaved My Legs For You’ is riffing the fuck out of the room and from the off this is going to be something special. Hanny J is a great foil for Stevie as they are both penned in by the dual riff maesters Rod and Will either side as they unleashing the venom. What a blistering opener, then it’s back to the rapid assault of ‘Infected’ off the uncompromising ‘Bad Blood’ album and that’s where they stayed for the title track and low and behold they open up ‘These Veins’ as well and the band sound on fire.

Next track up is ‘Freezing In The Sun’ which was released as a single prior to the last album but it only gave a slight glimpse into what was to come as the band took a giant leap sonically from the first two albums to ‘Lucid Again’ and then ‘Nature / Nurture’ where they seem to have really come of age and grown into something really special. Some of the songs steered them into Janes Addiction Territory (when Janes were on fire of course) and this single was their most accessible track to date and tonight it was pounding and they executed it to within an inch of perfection.

The band then flip-flopped between the most recent couple of albums with the pick of the tunes from both slotting in very nicely indeed. It took Williams a while to get into the audience but when he was comfortable he was like a cat on a hot tin roof not standing still for a second as the band hammered home the tunes giving him the space to do his thing and boy did he do it.  ‘Like A Knife At A Gunfight’  grew into a swirling beast that it is but it was overshadowed by the monumental ‘, I Wanna Feel Again’ that showed how much this band has grown over their short tenure and all those shows are paying off because I wouldn’t want to be in a band and follow these on stage on this evidence. To suggest it was epic isn’t an understatement at all.

By the time we hit ‘Soul For Sale’ and a quick check of the time we knew we were reaching melting point in the set, the whole place was twitching at the very least as some lost their collective shit it was only ‘Never Enough’ to wrap up the evening. A  fitting ending to a superb night of Hardcore entertainment from a band that was on fire and one I can’t recommend highly enough they were simply a sight to behold.

If you get the chance you really should check these Clowns out. It’s never too late to pick up one of the albums, hell even go for the first one that they sadly neglected this evening but I guess its fair that you can’t have everything. Now, these and Bronx on a doubleheader would be just the best idea if someone could make that happen in 2020 I’d be grateful.  Clowns from Australia I salute you, you came – we saw – you rocked.  Fuckin Awesome!

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Author: Dom Daley

Boy Oh Boy.  It’s always nice to have a few words off one of the Boys and with a couple of special shows coming up what better time to catch up with Matt and see what’s happening.  Ticket details and links are below the interview for their Lewes and London shows along with the posters with all the details.

 

Hi Matt.  The boys have been announced as headliners at Resolution Festival in the 100 Club this coming January. Having been two years since you headlined there was it an easy choice to say yes to doing it again?  It is a great line up as well with Last Great Dreamers and Menace playing as well.

Hi Dom. We’re always happy to play at the 100 Club. It’s almost a New Year tradition for us to play there now. It will also be great to hook up again with special guests Last Great Dreamers who we shared a festival stage with in Norway last year.

It’s already announced as the bands only show in London for 2020 is that an easy decision to make with it being so early on in the year?

Not at all, we’re usually planning gigs a year or so ahead and there are only so many gigs we want to do per year in any particular city or country as we don’t want to overplay anywhere. But we are playing Brighton before the London gig as well as Rebellion in 2020 and there might also be one or two other gigs in the UK later next year.

London is an ever decreasing hotbed of Rock and Roll with venues and gentrification closing down places is it harder to find suitable places these days compared to when the Boys started?

Sadly, I think that’s the truth, which is why I have a soft spot for the 100 club as one of the few surviving venues in London that have been around since the beginning of British rock ’n’ roll. When we started out in 1976, there were probably 100+ small music venues and pubs in London where we could feasibly get gigs as a new band, I doubt there’s more than a handful now.

It seems like a whole new world out there for bands what with the internet being so instant and making the world a smaller place.  Bands can record at home from anywhere is it a good or bad thing?  there seems to be less chance of there being a community or movement like when you opened up your flat in Maida Vale. Have those kinds of days totally gone do you think? 
The music business has always been changing. Other than live performance, income from music evolved from sales of sheet music to vinyl records, cassettes to CDs. and downloads to streaming. And even live performance evolved with the advent of music videos and once again with the arrival of the internet as well as audience smartphone recordings now all available online. The main problem now is that music is so easily available that it’s in danger of being taken for granted and devalued
Did you keep all the tapes from those recordings? Were there any particular people who impressed you who went on to great things in music that you could sense from the time? 

I have some early Boys’ recordings that I’d mixed down to cassette but all the original multi-track tapes went missing at some point and I don’t know who took them. If someone had stolen them to sell on or release as a bootleg I think they would have resurfaced by now so either they were stolen to record over or maybe removed by one of the bands who didn’t want their embarrassing early efforts aired. Who knows?

Most of the people that hung out in Warrington Crescent went on to greater things, including non-musicians like Magenta Devine, but one person who did impress me was the new guitarist with Chelsea who had only just started playing. I showed him a few guitar licks and he picked them up so quickly I thought this boy’s going to be a great guitarist. His name was Billy Idol.

A little bird tells me that The Boys in 2019 have also been busy recording is there any details you could reveal about that?

All I can say is that we’ve started recording and it’s sounding good – but at the moment it’s just new tracks with as yet no specific end-use and we’ll work on them and possibly more tracks in the New Year.

Going back to playing the 100 Club.  Its such an iconic venue for many reasons its steeped in history and one of the only remaining places still standing.  How does it stack up playing the 100 Club in 2018 or 2020 compared to 40 years ago and which of the venues hold the best memories and why?  The Roxy,  Marquee club when it was on Wardour Street.  I guess the Hope And Anchor which is also still standing.  Wasn’t that the venue the band made their live debut?  What do you remember about that?

Funnily enough, we never played the 100 club back in the day. I think after the first punk festival there when an audience member was hit by a thrown beer glass, they were a bit wary of booking punk bands for a while. Me, and I think Cas and John were in the audience for that gig. I also remember our debut at the Hope and Anchor shortly after, as it was such a relief to get our first gig safely under our belt after all the rehearsing. Mick Jones, Gene October and a lot of other fledgeling punk rockers were at the gig.

The Roxy was special because it was so short-lived. It was open only a couple of months but it that short time it gave punk its own home and helped to turn the UK music biz on its head and give the fledgeling punk bans the upper hand over the record companies, who were suddenly all desperate to sign a punk band. Also, venues, radio stations, recording studios, newspapers and music magazines were all forced to open up their minds to the punk phenomenon.

Re the Marquee, I saw so many great bands play there that it was a privilege for me to use the same stage and tiny dressing room. I’m still angry about the Marquee being lost forever after the developers promised there would still be a live music venue as part of the new development. I went to the opening of that ‘live music venue’ which was actually the basement area of a Conran restaurant. It was packed with tables and chairs for diners and had a tiny cabaret-style stage that you could just about fit a grand piano on. What really annoyed me was the ashtrays (you could smoke in restaurants back then), which were embossed with the names of some of the great bands such as Jimi Hendrix, Rolling Stones etc that had played the Marquee, implying that this was where they had played.

When I go there (Hope & Anchor that is)  I don’t know why but I’m always slightly taken aback how small it is. Again its got a lot of attachment to some bands history like the Stranglers and The Damned playing there. The 100 club seems palatial in comparison.
Are there any plans to play further afield again in 2020? the USA shows went down well and I know bands and fans were thrilled with the experience of hearing you guys play live.  What about china is that due for a return visit or are you now banned?

We are in talks about doing another South American tour and also Japan plus a few other things in the pipeline. I’d personally love to visit China again and tour there properly as we intended last time but it would be risky as we don’t know if we are still banned and probably wouldn’t know till we arrived there.

As for the band will John be playing the Resolution show?  It would be great to see him up there with you guys.

As you probably know John hasn’t been well for a long time. He is showing signs of improving. It’s a slow process so we don’t know if he’ll be able to be at the show but we do hope so.

I live in Swansea and the local museum recently had an exhibition to celebrate 50 years as a city and 50 years of music in the city and low and behold there is a feature from the 70s of Circles night club down the marina with pictures of yourself from when the Boys played on a Monday night. With a great bill poster advertising the show.  Do you have any memories of that show which was bootlegged and the first Bootleg I ever heard of the band.  Sounded like an electric night in an infamous local venue. Were they good memories of getting in a van with the band and togging it around the UK in the late ’70s.

With these memories in mind would you ever consider penning an autobiography?  The Boys history is an exceptional one and would make for a riveting read.

I’d like to have seen that exhibition. Do you have any photos of that feature? It was indeed great fun touring in the 70s because in many cases we were the first punk band that anyone had seen so it felt like we were trailblazing. As to an autobiography, no plans at present but if I get bored maybe.

Lewes Con Club 10 January –Tickets
Resolution Festival (100 Club) 11 January – Tickets

 

It seems every time I see Dalston’s finest gypsy blues merchants The Urban Voodoo Machine, it’s a different venue. They sure like to get around. I’m not complaining though, great variety gives a different feel to each show. Not that this London collective need any help in the variety department. Every show The Urban Voodoo Machine perform is different due to the ever revolving line up and the crazy stage antics that go down. So while regular guitarist Tony Diavolo and saxophonist/all round entertainer Luci Fire Tusk are MIA for tonight’s performance, their replacements for this tour do a mighty fine job in bringing their own thing to Paul-Ronney Angel’s party.

The last time we crossed paths was an epic two hour/two set 15th anniversary show at The Brudenell just a few miles away. That was an incendiary, packed out and sweaty gig, probably the best I’ve seen them. Tonight at The Wardrobe is a much more intimate affair, but none the less a bombastic rock ‘n’ roll show to behold. After all, it is The Urban Voodoo Machine and this band does not do mediocre.
Joining the core band that includes upright bass, two drummers and accordion/keyboard player Slim, are a two piece brass section and a young guitar slinger who happens to be the offspring of one of the band’s past players.
Instrumental surf jam ‘Police Paranoia’ gets things off to a ripping start, as ringleader Paul-Ronney Angel, a whirlwind of black ‘n’ red and his face grease painted white, leads the 8 piece band through a magnificent set that spans their 15 year career.
Our illustrious leader takes us into old classic ‘Down In A Hole’. With its bluesy, big band sound and cool gang backing vocals, it’s an early highlight that gets the crowd a-movin’ and a-groovin’. Live favourite ‘High Jeopardy Thing’ is brassy and classy in equal measures, the band incite the crowd to click their fingers, as the reverend Gavin Smith plays that skulking bass line. P-R, his voice as gravelly as his soul, has the crowd in the palm of his hand, taking us back in time to some sleazy speakeasy for a shot or two.

New single ‘Johnny Foreigner’ fits the set just fine. The laid back groove leads into a jubilant and overly-catchy chorus. The topical lyrics are backed up by the ‘Fuck Boris’ pin badge P-R wears proudly on his hat.” I’ve been living in this country 25 years” he shouts…” Fuck the Tories!” Well, this is billed as the ‘fuck Brexit Autumn Tour’ after all!
The sombre ‘Fallen Brothers’ and ‘Goodnight My Dear’ are dedicated to lost band mates; guitarist Nick Marsh and fiddle player Rob Skipper, gone but never forgotten. Other highlights? Well, ‘Orphan’s Lament’ sounds as fantastic as ever and ‘Crazy Maria’ is a high energy blast of mariachi infested glory that can never fail to get the crowd moving and the glasses emptied.
Crazy stage antics and slapstick comedy moments are rife. They include the frontman wringing the sweat from his headscarf into someone’s glass, getting a crowdsurf lift to the bar to collect a shot, and miming into a supposedly broken mic (is this thing on?). Paul-Ronney Angel is a pro who has this entertainment lark down to a fine art and manages to enrapture a whole room no matter the size or the clientele.
The band end the show as they began by forming a procession through the crowd, and culminates with the whole band standing on tables by the merch stand for an impromptu jam to close a memorable show that was more of a raw, rock ‘n’ roll show than the usual over the top circus.

With a new single and a tribute album (‘Friends & Family Album’) on record shelves, plus a new album due out before the spring, the future looks bright for The Urban Voodoo Machine. Let’s just hope those damn Tories don’t scupper their plans for world domination. With so much uncertainty in the world right now, it’s reassuring to know every night is a good night when The Urban Voodoo Machine rolls into town.

Author: Ben Hughes

Photo credit: Matt Seddon

Revered Southern California rock ‘n’ roll legends Social Distortion have announced their first European tour in five years. The month-and-a-half long tour, in June and July of next year, will include both headlining shows as well as appearances at some of the biggest summer festivals in the region. The band will perform at Manchester’s 02 Ritz on 15th July and London’s Shepherd’s Bush Empire on 17th July.
Mike Ness has a special message for the European fans: “We can’t wait to get back to Europe this coming June! We’ve missed our fans and all of your beautiful cities. Five years is WAY too long! See you soon.”
Please see below for the full list of dates. Tickets are on sale now via the band’s website.
Social Distortion European 2020 Tour Dates
June 2nd, 2020 – The Circus, Helsinki (FI) – SOLD OUT     
June 3rd, 2020 – The Circus, Helsinki (FI) – SOLD OUT
June 8th, 2020 – Sentrum Scene, Oslo (NO)
June 9th, 2020 – Store VEGA, Copenhagen (DK)
June 12th, 2020 – Nova Rock Festival, Nickelsdorf (AT)
June 13th, 2020 – Zenith, Munich (DE)
June 16th, 2020 – Volkshaus, Zurich (CH)
June 17th, 2020 – Carroponte, Milan (IT)
June 19th, 2020 – Azkena Rock Festival, Vitoria (ES)
June 22nd, 2020 – Paradiso, Amsterdam (NL)
June 24th, 2020 – Lokschuppen, Bielefeld, (DE)
June 25th, 2020 – Capitol, Hannover (DE)
June 27th, 2020 – Haus Auensee, Leipzig (DE)
June 28th, 2020 – Columbiahalle, Berlin (DE)
June 30th, 2020 – Den Atelier, Luxembourg (LU)
July 3rd, 2020 – Ruhrpott Rodeo, Hünxe (DE)
July 4th, 2020 – Mission Ready Festival, Giebelstadt (DE)
July 6th, 2020 – Grosse Freiheit 36, Hamburg (DE) – SOLD OUT
July 7th, 2020 – Grosse Freiheit 36, Hamburg (DE)
July 10th, 2020 – Mighty Sounds Music Festival, Tabor (CZ)
July 12th, 2020 – Sjock Festival, Lille (BE)
July 15th, 2020 – O2 Ritz, Manchester (UK)   – TICKETS     
July 17th, 2020 – O2 Shepherd’s Bush Empire, London (UK) – TICKETS     
Social Distortion have been in their studio writing since March of this year, but took the summer off to tour North America with Flogging Molly, The Devil Makes Three and Le Butcherettes as a warm-up to their 40thanniversary celebration in Orange County, California on October 26th. The special hometown concert acknowledged a remarkable forty-year career and was an incredible day of music, where they were joined by an eclectic array of artists such as Joan Jett and The Blackhearts, The Distillers, The Kills, Frank Turner and The Sleeping Souls, The Eagles of Death Metal, The Black Lips, Plague Vendor, Bully and Mannequin Pussy.

Since their formation in 1979 in the Southern California working-class suburb of Fullerton, Social Distortion have created a recharged rock ‘n’ roll sound merging outlaw country, classic punk and swaggering blues. Their last release Hard Times and Nursery Rhymes was the first album with their current label Epitaph Records and the band’s highest-charting album in their career. Produced for the first time by Ness himself, the album debuted at #3 on German Album Charts and #4 on the Billboard Top 200 Albums Chart.  The band is currently preparing to head back into the studio to start a new chapter in their already rich legacy.

Two of our favourite bands have joined together in unholy matrimony once again for our listening pleasure and have released a brand new single entitled ‘Trillion Dollar Man’.

 

The two The Hip Priests and two Bitch Queens members recorded four high energy action rock tracks in one day. 7″ will come in red and blue vinyl. All you streaming folk out there in cyberspace can also shove it on your playlist like we will be doing from here – Spotify