The show is being promoted by the Manchester-based promoter Now Wave, and is expected to attract a good number fans from across the North West. Known for their fusion of punk, funk and electronic influences, Warmduscher have built a strong reputation for chaotic, high-energy performances since forming in London in 2014.

Warmduscher was born out London’s alternative scene through a loose collective of musicians involved in several underground bands. Initially formed as a one-off collaboration for a New Year’s Eve performance, the project quickly developed into a permanent group with a distinctive sound.

The band released their debut album ‘Khaki Tears’ in 2015, introducing listeners to their raw, experimental approach. Subsequent releases expanded their musical range. Their 2018 album ‘Whale City’ incorporated funk grooves and more polished production, while ‘Tainted Lunch’ (2019) featured collaborations with established artists including Iggy Pop and Kool Keith, which lead to further collaborators such as Irvine Welsh on their 2024 album ‘Too Cold To Hold’.

While the band’s recorded output has come to much critical acclaim, Warmduscher are widely regarded as a group best experienced live. Their performances often feature extended improvisations, electronic elements and strong audience participation. The band’s shows have become known for their lively atmosphere.

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The choice of venue for the upcoming Manchester show is likely to appeal to fans familiar with the region’s underground music scene. The White Hotel, located on an industrial estate in Salford, opened as a performance venue in 2015. Originally a vehicle repair garage, the space has since become known for hosting experimental music, electronic club nights and alternative shows.

With a relatively small capacity, The White Hotel offers an intimate setting compared with larger venues in Manchester, like the O2 Ritz, where Warmduscher played back in later 2024. The venue’s warehouse-style interior, minimal lighting and powerful sound system make it a popular venue for artists seeking more of a rough-round-the-edges feel.

Door and curfew times for the May 21 show are yet to be announced and support acts are likely to be announced closer to the event. With the venue’s extended license, it could be expected that the band may run an extended show with support acts before and DJs after the band’s performance – similar to what they did at The Troxy in London a couple of years back. Tickets are anticipated to sell quickly given the band’s popularity in Manchester and the venue’s limited capacity.

Tickets are available here.

The recent enforcement actions are part of a broader campaign by Hungarian authorities targeting nightlife establishments. Since late 2025, police have carried out raids, investigations and arrests across multiple venues in Budapest, claiming the operations are necessary to combat drug distribution in clubs and music venues. The measures have raised concern among promoters, artists and venue owners about the impact on the city’s nightlife ecosystem.

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One of the most notable closures involves Arzenál, one of Hungary’s largest indoor nightclubs. The venue is located in a converted industrial building that was once a gun factory and confirmed it had been ordered to close for two months following a series of drug-related arrests. Authorities reportedly detained a 22-year-old man on suspicion of trafficking after discovering dozens of ecstasy pills during a search. Following the decision, Arzenál announced that it would suspend events until late April while complying with the order. In a public statement, the club said the shutdown would cause significant harm to its team, artists and partners. Management stressed that the venue maintains a strict zero-tolerance policy toward drugs, but argued that event spaces cannot fully prevent illegal behaviour by individuals. According to the club, the forced closure threatens years of work and the livelihoods of around 50 employees. To help cover financial losses during the shutdown, the venue has asked supporters and the local community for assistance.

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Another venue affected by the crackdown is the Turbina Cultural Centre, an underground arts and music space in central Budapest. Police ordered Turbina to close after an investigation into alleged drug sales connected to the venue. Authorities claim that visitors purchased substances such as marijuana, amphetamine powder and ecstasy tablets from an individual suspected of dealing drugs.

However, Turbina strongly disputes the allegations. In a statement, the venue said police had monitored the space for weeks as part of an undercover operation and had not identified any violations during that time. According to the venue, officers even indicated that they were satisfied with its security and operational procedures. Management argues that the closure is instead based on testimony in an ongoing investigation rather than evidence gathered directly at the club.

As the closures continue, the future of several nightlife venues remain uncertain. For Budapest’s music community, the closure show the growing tension between authorities seeking stricter drug enforcement and a nightlife culture concerned about the survival of its spaces.

This will be the second time Ninajirachi will be visiting the UK after having only played a few special UK/EU shows in 2025. This year, she’s spoiling fans with tour dates across major capital cities including support from Kavari and Laces.

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Tucked in her room in New South Wales with her headphones on, Ninajirachi is rebooting the scene of electronic dance music with her sixth studio album ‘I Love My Computer‘ – a tribute to a girl-ified experience of living in a digital age reminiscent of Y2k technology, treble-boosted mini speakers, and the incomparable bond of feeling like no one gets you like your computer does.

Since the album’s release in 2025, she has broken through the digital realm and – if it were 2009 – would be on the iPod touch systems of thousands worldwide. Popular tracks ‘iPod Touch’ and ‘F**k My Computer’ have seen her gain 1.2 million listeners on Spotify, the album alone accumulating 38.5 million stream across streaming platforms. She’s established herself as a force to be reckoned with in the new age of Girl-EDM.

The tour is set to start in less than a month, and the countdown has begun. Ticket sites have been raided and left bare from fans eager and waiting to log on and party with a girl who loves her computer. Known for sets that are as high-energy as they are high-volume, Ninajirachi is a digital girl inviting you to come party in a digital world.

Don’t miss her at:

• March 21st – SWG3 Glasgow, Glasgow
• March 22nd – Opium, Dublin
• March 25th – Gorilla, Manchester 
• March 26th – Concorde 2, Brighton 
• March 27th – Colour Factory, Manchester 
• March 28th – Strange Brew, Bristol 

Further details upcoming Ninajirachi shows and ticket availability can be found here.

The critically acclaimed project, led by producer Richard Fearless, has been a touchstone of experimental electronic music since the mid-1990s. Blending elements of techno, psychedelia, dub, big beat and trip-hop, Death In Vegas have long blurred genre boundaries and earned a loyal following for their experimental sound. Their 1999 album, ‘The Contino Sessions’, was nominated for the Mercury Prize in 2000.

The shows kick off at Mandela Hall in Belfast on Saturday, 2 May 2026, before moving south to The Button Factory in Dublin on Sunday, 3 May 2026. Due to overwhelming demand, a second Dublin date on Monday, 4 May 2026 has now also been added, offering fans another chance to catch this rare live outing.

Those familiar with Death In Vegas’ live performances know to expect something far beyond a typical electronic set. Fearless and his bandmates craft immersive shows that use both live instrumentation and electronic beats to create the genre-bending sounds they are known for, making each performance a journey through the different chapters of their discography.

A key reason for the anticipation surrounding these shows is how rare Irish headline shows have been for the group. While Death In Vegas have played festivals and occasional events across Europe – including a 2025 appearance at Beyond The Pale Festival in Ireland – they haven’t delivered standalone performances in Belfast or Dublin in years. This makes the 2026 dates especially significant for fans who’ve followed them since the late ’90s and early 2000s.

Adding to the anticipation is the fact that these shows follow the release of their 2025 album ‘Death Mask’, a raw, techno-driven record that takes it back to Fearless’ more primitive influences while still honouring the eclectic spirit that defines Death In Vegas. Bar a few sparse shows in the second half of 2025, ‘Death Mask’ has not had a proper live run-out yet, so fans can expect all of the nuances that come with a newly debuted record.

Tickets for the Belfast date and the initial Dublin show sold quickly following their announcement, prompting the second Dublin date to go on sale. Prices have been set at €37.50 plus fees and are available here.

Recorded in Manchester and Tottenham, the album was helmed by producer Grant Showbiz and features the steady line-up of Mark E. Smith, Julia Nagle, Neville Wilding, Adam Helal and Tom Head.

Musically, it taps into The Fall’s post-punk roots while embracing more studio experimentation, with tracks like ‘Cyber Insekt’ featuring a lot more electronic elements. Reviews at the time (and since) have pointed out that the album finds The Fall operating with a renewed sense of control.

Released via Cherry Red Records on October 31 2025, the reissue comes in two main formats: a double-vinyl edition and an expanded 4-CD box set. The vinyl edition includes a 2-LP format featuring the original album’s tracks laid out across four sides, whilst the CD box set includes the original album, plus additional material such as the ‘Testa Rossa Monitor Mixes’ and two live shows from the era.

Celebrating 25 years since the original release, the reissue was mastered by long-time engineer Andy Pearce and comes with liner notes by critic Daryl Easlea and is compiled in conjunction with Fall expert Conway Patton. The artwork is by Becky Stewart.

For any fan of The Fall, or anyone interested in the evolution of post-punk beyond the 1970s/80s this reissue of ‘The Unutterable’ is a noteworthy release. It brings together one of the band’s most compelling studio efforts with bonuses, good mastering and a fresh presentation. It’s a chance to revisit a landmark album, or for newcomers to explore a lesser-celebrated but rich phase of the band’s long career.

All formats of the reissue are available for purchase here.

Their last album, ‘UK Grim’ (2023), looked closely at life in modern Britain – frustration, politics and daily struggle. This new record takes those ideas further, with Williamson describing it as “a life lived under immense uncertainty, shaped by mass trauma.” He says the world now feels “split open by war, genocide, and the lingering effects of Covid,” while social media has become “a grotesque, twisted form of digital engineering.”

The title, ‘The Demise of Planet X’, hints at something larger than just one country. Fans can expect the same raw honesty as before, but with a wider, more global focus.

The first track from the album, ‘The Good Life’, features Gwendoline Christie (from Game of Thrones and Wednesday) and the duo Big Special. The song talks about inner conflict, the mix of joy and guilt that comes with success. Williamson says it’s “about slagging bands off and the joy and misery that causes me.”

The music video, directed by Ben Wheatley, brings these feelings to life, showing Christie and Big Special as voices inside Williamson’s head. It’s a clever and funny take on self-doubt and identity, themes that fit perfectly with Sleaford Mods’ usual mix of humour and anger.

The new album features several guest artists, something rare for Sleaford Mods. Collaborators include Aldous Harding on ‘Elitest G.O.A.T.’, Sue Tompkins on ‘No Touch’, Liam Bailey on ‘Flood the Zone’, and Snowy on ‘Kill List’. The full tracklist has 13 songs, blending the duo’s minimalist beats with new textures and voices.

FULL TRACKLIST:

1. The Good Life (feat. Gwendoline Christie + Big Special)
2. Double Diamond
3. Elitest G.O.A.T. (feat. Aldous Harding)
4. Megaton
5. No Touch (feat. Sue Tompkins)
6. Bad Santa
7. The Demise of Planet X
8. Don Draper
9. Gina Was
10. Shoving the Images
11. Flood the Zone (feat. Liam Bailey)
12. Kill List (feat. Snowy)
13. The Unwrap

The band will tour the UK, Ireland and other countries next year, bringing the new songs to the stage. With ‘The Demise of Planet X’, Sleaford Mods seem ready to turn their usual anger and wit into something even more powerful.

Users across Reddit, TikTok, and Spotify’s own community forums began posting that they had heard audio spots recruiting for ICE while listening to music or podcasts on Spotify. One user described hearing:

According to The Independent, “millions of dangerous illegals are rampaging the streets. Join ICE today.” 

Comment
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Another user, based in the UK, reported hearing the ad during a UK-based podcast and felt it was deeply offensive and inappropriate for a non-U.S. audience. Spotify responded by acknowledging the ads: “This advertisement is part of a broad campaign the U.S. Government is running across television, streaming and online channels… The content does not violate our advertising policies.”

Many listeners objected to the aggressive, militaristic tone of the ads, which frame immigrants or “illegals” as threats and promote ICE in strongly patriotic terms. This was seen as dehumanising and polarising. Some users argue that Spotify should not host ads spreading political propaganda or recruitment drives for a law-enforcement / immigration-enforcement body, especially given the global nature of the platform and the scale of the audience. Independent record labels such as ANTI‑ Records and Epitaph Records publicly called on Spotify to remove the ICE ads, stating that “artists and fans deserve platforms that reflect the values of the culture they sustain.”

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The controversy raises questions about how streaming platforms vet advertising content and whether they should apply different ethical standards when serving ads for government agencies. While advertising for job recruitment is common, in this case the messaging is charged with immigration-enforcement, nationalism and a heavy “us-versus-them” framing, which makes it more than a benign job listing.

Spotify has stated that the ads comply with its advertising policies and that users can provide feedback (thumbs up/thumbs down) on individual ads. However, the company has so far refused to remove the ICE recruitment ads despite mounting pressure, once again proving that ethical business practices are not a priority at Spotify.

Launched in September 2025, No Music for Genocide is a musician-led initiative calling on artists and record labels to geo-block (restrict access to) and remove their music from streaming platforms in Israel. The campaign frames this act as a way to protest genocide, ethnic cleansing, and apartheid.

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The initial announcement included over 400 artists and labels. Among those early supporters were Massive Attack, Fontaines D.C., Kelela, Erika de Casier, Young Fathers, Mogwai, Black Country, New Road, Primal Scream, Loraine James, Nadine Shah, and independent labels like NTS, PAN, 10k, Bayonet, TraTraTrax, Motion Ward, and others. By early October 2025, the boycott had grown to include more than 1,000 artists and labels. Major names that joined through this later wave include Lorde, IDLES, MUNA, Paloma Faith, Pinegrove and Marc Rebillet, as well as labels such as Hyperdub and Planet Mu. These additional signatories reflect both a widening geographical spread and an increasing willingness among more prominent artists to align themselves publicly with the boycott. The organisers emphasise that culture alone will not stop violence, but it can help shift public opinion, resist normalisation, and hold institutions to account.

 

 

 

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Parallel to the music boycott are similar efforts in literature, film, and visual art. 

Over 1,000 authors, including winners of the Nobel, Booker, and Pulitzer prizes, have signed declarations refusing to collaborate with Israeli publishers that are complicit in the atrocities being committed. Signatories include Sally Rooney, Annie Ernaux and Arundhati Roy.

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However there are some practical challenges: geo-blocking is technically complex, and ensuring compliance across streaming services can be difficult. Some artists have reported that their music briefly reappeared in Israel despite signing up, due to logistical issues with platforms or distributors.

The Irish alt‑pop artist, known for her genre‑bending sound and theatrical live shows,  was due to kick off her tour this month in support of her third studio release ‘Euro-Country ’which has seen widespread critical praise and strong fan support, even a Mercury Prize nomination.

The cancellation comes at a pivotal time in CMAT’s rise. Off the back of a standout Glastonbury set earlier this summer, she’s continued to build a loyal fanbase, drawing praise for her sharp lyricism, self-aware humour and bold creative direction.

It’s due to this that the timing of the situation is so desperately unfortunate. In a ruthless industry, staying in the spotlight can, at times, be more of a feat than getting there to begin with. CMAT is bubbling on the brink of explosion, making this so untimely.

CMAT October 2025 Tour Dates (Pre-Postponement)

• Oct 2 — London, O2 Academy Brixton
• Oct 4 — Manchester, Manchester Academy
• Oct 5 — Leeds, O2 Academy Leeds
• Oct 6 — Newcastle Upon Tyne, O2 City Hall / NX
• Oct 8 — Glasgow, Barrowland Ballroom
• Oct 9 — Glasgow, Barrowland Ballroom (second night)
• Oct 10 — Glasgow, Barrowland Ballroom (third night)
• Oct 12 — Nottingham, Rock City
• Oct 13 — Cambridge, Cambridge Corn Exchange
• Oct 15 — Brighton, Brighton Dome
• Oct 16 — Birmingham, O2 Institute Birmingham
• Oct 17 — Norwich, UEA LCR
• Oct 19 — Sheffield, Octagon Centre
• Oct 20 — Bristol, O2 Academy Bristol
• Oct 22 — Cardiff, DEPOT Cardiff
• Oct 23 — Birmingham, O2 Academy Birmingham

However, In a statement shared on her social media, CMAT explained that she woke up in severe pain and was rushed into an emergency dental appointment, where she was diagnosed with an infection in both of her lower wisdom teeth. She’s now been advised to have them surgically removed, followed by a two‑week recovery period:

“I currently can’t even open my mouth wide enough to laugh, let alone sing,” she wrote. “I’m devastated.”

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The full run of shows has now been pulled, with her team confirming that all ticket holders will either be refunded or given access to rescheduled dates once they’re confirmed.

Despite the abrupt halt, fans have flooded her comments with support, echoing sentiments of care and patience. While the news will come as a disappointment to those who had tickets, many are already expressing hope that the singer takes the time she needs to fully recover.

The artist does seem to be handling the post well despite this. In a hilarious Instagram story displaying her swollen ( and painful looking) injury, the artist played on the lyrics of her hit song ‘Take A Sexy Picture Of Me’.

It was captioned: “I did the butcher, i did the baker, maybe i should have done the f***ing dentist.”

There’s no word yet on when the shows will be rescheduled, but CMAT reassured fans she’s “working hard behind the scenes” to make it happen.

The album was recorded in one day in that year, and released a week later. It was a rapid response co-ordinated by charity War Child UK, which you can now get your hands on 30 years down the line. 

In a statement on their website, the charity said:

“To mark the 30th anniversary of the iconic ‘HELP’ album, War Child Records are releasing a limited edition 7” box set of the original release. Limited to 1000 units, each hand numbered and including unseen images, this is the ultimate collectors edition.”

“The HELP album was the music industry’s response to the Yugoslavian civil war, inspired by John Lennon’s approach to recording ‘Instant Karma’, the ‘HELP’ album was recorded in a single day, mixed and mastered by Brian Eno and released five days later.”

“The album raised over £1.25million and is still widely regarded as the greatest charity album of all time.”

The album was an instantaneous display of how music and its artists can come together at the drop of a hat and rally to help those in need. It displayed the compassionate and delicate tendencies of the industry’s phenoms in the 1990s and set a precedent for future fundraising. 

Most importantly, alongside the money raised for the cause, It increased the awareness of the Yugoslav war at a time of political tension, when social media didn’t brandish the news of the world in front of our helpless eyes. The high profile names and the quality and class of the record made it a global success, drawing eyes to Yugoslavia, which would’ve otherwise turned unknowingly blind. 

The tracklist for the album:

Disc 1
A1. Oasis – Fade Away
B1. The Boo Radleys – Oh Brother

DISC 2
A1. The Stone Roses – Love Spreads
B1. Radiohead – Lucky

DISC 3
A1. Orbital – Adnan
B1. Portishead – Mourning Air 

DISC 4
A1. Massive Attack – Fake the Aroma
B1. Suede – Shipbuilding

DISC 5
A1. The Charlatans & The Chemical Brothers – Time For Livin’
B1. Stereo MC’s – Sweetest Truth (Show No Fear) 

DISC 6
A1. Sinéad O’Connor – Ode to Billy Joe
B1. The Levellers – Searchlights 

DISC 7
A1. Manic Street Preachers – Raindrops Keep Fallin’ on My Head
B1. Terrorvision – Tom Petty Loves Veruca Salt 

DISC 8
A1. The Massed Pipes And Drums Of The Children’s Free Revolutionary Volunteer Guard & The One World Orchestra – The Magnificent
B1. Planet 4 Folk Quartet – Message To Crommie 

DISC 9
A1. Terry Hall & Salad – Dream A Little Dream
B1. Neneh Cherry & Trout – 1, 2, 3, 4, 5 

DISC 10
A1. Blur – Eine Kleine Lift Musik
B1. The Smokin’ Mojo Filters – Come Together

“Help- 30th Anniversary Box-Set” is set for release on October 17

“All proceeds will support War Child’s work protecting, educating and standing up for children living through conflict today.”

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You can pre-order the album now by clicking here.