The first concert, titled Madness at the Manor, is scheduled for 13 July at Tofte Manor in Bedfordshire. Billed as an intimate performance at a historic venue, the band told of their excitement about playing the venue through their promoter’s Instagram, saying: “We didn’t think there were any houses, county estates or fields we hadn’t played at”.

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The band will go on to perform at Dreamland in Margate on 2 August as part of the Margate Summer Series and at Castle Park, Colchester, on 23 August as part of the Colchester Castle Summer Series. Tickets for Margate and Colchester will go on general sale at 9am on 29 November here. Pre-sale tickets for the Tofte Manor show will be available at 12pm on 29 November here, with any remaining tickets offered in a general sale on 2 December at 12pm.

Outdoor summer shows have become a specialty of the band in recent years, with highlights from the past year including stops at Cardiff Castle, Galway Airport, and Scarborough Open Air Theatre. This year also marked a significant milestone for the band, as their 13th studio album, Theatre Of The Absurd Presents C’est La Vie, became their first to reach number one on the UK Official Albums Chart. An enhanced edition of the album was released in June.

Retropop magazine praised the album, saying “its lead single and title song harks back to the ska sound that popularised the band some 40-odd years ago while perfectly capturing the essence of Madness in its examination of the perils of everyday life”, and noting that the release was the band’s “most pop-oriented in years”.

Emerging from the two-tone craze of the late 70s and early 80s, the Camden Town ensemble rose to fame with their urban British spin given to Caribbean rock-steady and early ska. Early hits like ‘One Step Beyond’ and ‘Nightboat to Cairo’ show the band in their element covering or borrowing heavily from these genres’ classics, and propelled the band to be London’s answer to the burgeoning Coventry ska and two-tone scene, alongside the likes of Bad Manners. The band later pivoted to a more pop-based sound into the 1980s but never drifted far from their themes of working class London life, delivered with trademark humour and a taste for pastiche.

In a statement shared on social media, MOTH Club criticised the fragmented development plans, arguing that splitting the proposed building into two has allowed the developers to bypass the obligation to include social housing. While supporting the need for more affordable housing, the venue expressed concerns about the adverse impact of these specific plans on the area’s cultural fabric. “Building multi-storey blocks towering over an independent venue like MOTH would have devastating consequences for its future,” they said.

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The latest threat involves two separate applications for residential blocks on Morning Lane, one of which includes balconies overlooking MOTH Club’s smoking area and backing onto its stage wall. The venue’s management warns that these developments could lead to conflicts, including noise complaints from residents, which could endanger the club’s ability to operate.

The venue, renowned for its eclectic programming of live music, comedy nights, and film screenings, has hosted performances from acts such as Lady Gaga, King Gizzard & the Lizard Wizard, IDLES, and Jarvis Cocker. It has also played a significant role in supporting emerging artists and maintaining Hackney’s cultural vibrancy.

This marks the second time in recent months that the MOTH Club has called for public support. Earlier this year, the venue opposed a similar application for flats on Morning Lane, referencing potential threats to its long-term viability. The Music Venue Trust (MVT), a national charity that supports grassroots music spaces, previously described the situation as indicative of broader pressures facing independent venues across the UK.

The MVT recently flagged that 350 grassroots venues are at risk of imminent closure due to rising operational costs, declining revenue, and conflicts stemming from urban development. The trust’s initiatives, including the #OwnOurVenues campaign and The Artist Pledge, aim to secure the future of such spaces.

MOTH Club’s management has urged fans and local residents to oppose the latest applications by signing a petition and contacting Hackney Council, which can be signed here. “We’re calling on everyone to stand with MOTH Club and oppose these plans,” they wrote. At the time of writing, over 1,200 people have signed the petition in support.

The challenges faced by MOTH Club echo similar threats to other venues, such as Studio 338 in Greenwich, which opposed a residential development nearby at the same time as MOTH Club’s original appeal in September. The problem shows no sign as abating as urban redevelopment continues across London, which pits the need for preserving cultural institutions against the ongoing push to meet housing demands.

‘Love’ begins with a grave, dropped-tuned introduction which gives way to sparser instrumentation in the verse, where the group’s trademark yelled vocals take over. The single addresses themes of emotional toxicity and misinterpretations of love, as the band describes in a press statement: “‘Love’ isn’t a critique on real affection—it’s about mistaking toxicity for love. Like a moth drawn to a flame, unable to discern between warmth that soothes and a fire that burns you, and getting pissed off about it.”

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Ein Beitrag geteilt von Lambrini Girls (@lambrinigirlz)

“When love is learned through chaos, pain feels like connection. It’s the cycle of chasing affection through suffering and holding on because you’ve never known anything else. This song conveys something that isn’t love at all; in fact, it’s the very opposite,” the statement goes on to say. The track, along with the entire album, was produced by Daniel Fox of Gilla Band and mixed by Seth Manchester, and includes previously released singles ‘Big Dick Energy’ and ‘Company Culture’. 

Formed in 2020 in Brighton, the pair quickly became known for their biting wit and provocative takedowns. The band is composed of Phoebe Lunny (vocals/guitar) and Lilly Macieira (bass). Their 2023 EP, You’re Welcome, established their reputation for unapologetic, high-energy, spoken word noise punk.

The single “Company Culture” debuted in September 2024, critiquing workplace hierarchies with sharp humour and aggressive riffs. A month later, “Big Dick Energy” followed, blending sarcasm with fierce instrumentation to challenge toxic masculinity. Both tracks earned acclaim for their unfiltered lyrics and rebellious sound, with AltPress highlighting their raw, confrontational style. The duo have also gained recognition for their electric live performances, including appearances at major festivals like Glastonbury and Reading.

 

 

 

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Lambrini Girls are set to kick off a highly anticipated tour next week in London, with back-to-back shows at Alexandra Palace. Afterward, they will head to the U.S., performing in cities like Brooklyn before returning to Europe in February 2025. Their European leg includes stops in France, Italy, Germany, Sweden, and more, culminating in UK dates across spring 2025, including major venues in Bristol, Leeds, and London’s Electric Brixton.

To mark the album’s release, Lambrini Girls have announced a series of in-store performances across the UK and Europe. The shows will run from 10–16 January 2025, including stops in Liverpool, Nottingham, Bristol, London, Brighton, and Berlin. These events will coincide with the band’s headline tour, for which tickets can be found here.

The tour begins on 21 June at Scarborough Open Air Theatre and features stops in Dublin, Cardiff and London, among others, but the Friday night headline slot at Latitude Festival on 25 July will see the duo put the capper on the brief tour. The group will join fellow 90s electronic pioneer Fatboy Slim as well as Sting as headliners for the weekend at Suffolk’s Henham Park. Tickets for the highly anticipated tour go on general sale this Friday, with pre-sale options available from Wednesday here.

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Basement Jaxx last toured in 2014 following the release of their album Junto. The album received praise for its diversity and energy, with Renowned for Sound highlighting its ability to unite people on the dance floor and beyond. Tracks like “Never Say Never,” featuring ETML’s vocals, were described by the mag as “radio-friendly” and “melodic,” while “Mermaid of Salinas” and “Rock This Road” brought carnival-inspired rhythms compared to “brilliant FIFA World Cup anthems.”

Since the album’s release, the duo have focused on DJ performances around the globe, choosing to stay away from full-scale live shows. “After a few years DJing round the globe, it’ll be great to return to the live stage and the live show experience,” Buxton said to NME, adding, “to connect to people with life-affirming energy and give people a great time.”

The duo, who first gained prominence in the late 1990s with tracks like “Red Alert” and “Rendez Vu”, are known for their dynamic live sets featuring a blend of live musicians, dancers, and visual effects. They have also hinted at including new material in their performances, alongside their classic hits. Ratcliffe shared his excitement about the upcoming shows with NME, stating, “It feels like 2025 is the beginning of a new era for many, and I think that’s probably true for Basement Jaxx too.”

Latitude Festival organisers celebrated the inclusion of Basement Jaxx in their lineup, calling the duo “the ultimate festival act.” Melvin Benn, the festival director, praised the duo’s live chops, saying, “Their performances are a whirlwind of energy, packed with euphoric pop anthems, dazzling visuals, and a vibrant cast of musicians, singers, and dancers.”

Formed in 1994, Basement Jaxx have long been recognised as pioneers in electronic music, earning multiple awards and accolades, including a BRIT Award for Best British Dance Act. They headlined Glastonbury in 2005, stepping in for Kylie Minogue, and their shows have become known for their theatrical stage sets. Although the current tour is limited to UK and Ireland dates, there is speculation about a possible appearance at Glastonbury in 2025 and hopes for a North American leg.

In the United States, the record has reached the Number One position on five Billboard charts: Top Album Sales, Vinyl Albums, Top Rock & Alternative Albums, Top Rock Albums, and Top Alternative Albums. It also debuted at Number Four on the Billboard 200, the band’s second-highest placement ever, surpassed only by 1992’s Wish, which reached Number Two. Additionally, it became the top-selling physical album in the US, according to industry reports.

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Songs of a Lost World has been equally well-received in the UK. Earlier this month, the album debuted at Number One on the UK Albums Chart, making it the first Cure album to achieve this feat since Wish. The record has already been certified Silver in the UK, reflecting strong sales. This achievement solidifies The Cure’s enduring legacy in their home country, resonating strongly with both long-time fans and a new generation of listeners.

The band celebrated this milestone with a live performance at London’s Troxy, where they showcased the album in full alongside a 31-song setlist. The album’s release was accompanied by a live event at London’s Troxy, where the band performed a 31-song setlist, including the new album in its entirety. Two additional performances were held at the BBC Radio Theatre, which can be watched back here.

Reflecting on the album’s reception a post on the band’s Instagram, frontman Robert Smith expressed gratitude, saying, “It is enormously uplifting, genuinely heartwarming to experience such a wonderful reaction to the release of the new Cure album. To everyone who has bought it, listened to it, loved it, believed in us over the years – THANK YOU!”

 

 

 

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Smith has disclosed that the album’s themes are deeply personal, shaped by his experiences of loss, including the deaths of his parents and brother. The track I Can Never Say Goodbye specifically addresses the loss of his brother, while Smith credited his wife, Mary Poole Smith, with helping finalise the album’s tracklisting.

Critical reception for Songs of a Lost World has been overwhelmingly positive. NME awarded it five stars, describing it as “arguably the most personal album of Smith’s career,” adding: “mortality may loom, but there’s colour in the black and flowers on the grave.”

Looking ahead, The Cure have plans for extensive touring. Smith has confirmed that the band intends to begin a worldwide tour in 2025, with performances expected to continue through to their 50th anniversary in 2028. He also hinted in an interview with NME at the release of a second album, which is “virtually finished,” as well as a potential third album.

Lead vocalist and guitarist Clari Freeman-Taylor describes the track as “a nostalgic song about finding my own dreams.” She explains, “Seeing ‘California’ through films and TV always felt like a paradise or idea of success that didn’t really resonate with me.” Freeman-Taylor also highlights the song’s recurring theme of escapism, reflected in lyrics about “something lifting you out.” She adds: “Growing up, me and my friends would climb everything, roofs and trees, maybe to feel like we were escaping the place we were in or feel a kind of wonder of how small it was from high up”.

The song retains Mary in the Junkyard’s signature fusion of styles, drawing on the classical backgrounds of Freeman-Taylor and bassist/violist Saya Barbaglia, blended with an experimental rock ethos. The band’s influences, which include Joni Mitchell and Björk, are evident in the layered, atmospheric arrangement of the single, which contrasts the raw energy of their debut release.

The track begins with an echoey and melancholic guitars before lo-fi indie whispered vocals enter the frame. A second stanza sees Freeman-Taylor’s vocals become pained and weepy as increasingly fuzzy guitar add weight as the song builds. The track then reaches a hazy shoegaze-influenced climax, before settling into repose in an ominous, quiet outro.

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The band are also set to hit the road for an extensive series of performances. In November, the band will join UK indie rock outfit Sports Team for a nationwide tour, before heading to New York City for two December shows, including a support slot with Model/Actriz and a headlining performance at Baby’s All Right. The trio’s largest UK headline show to date will take place early next year, on 27 February 2025, at London’s iconic Fabric.

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Despite being relative newcomers to the music scene, Mary in the Junkyard have quickly built a reputation as one of the UK’s most exciting emerging acts. The band’s debut EP This Old House received glowing reviews, with Backseat Mafia calling it a “zany, exceptionally written, beautifully delivered, and altogether absolutely brilliant” release. NME also praised the band’s “dreamy ambition” and noted that the group’s sound goes beyond fleeting trends, establishing them as artists with long-term potential.

The album was recorded at Church Studios in Crouch End, London, with Mercury Prize-winning producer Marta Salogni and Grace Banks at the helm, alongside long-time collaborator Dan Carey, who has worked with the band on their previous two releases. Cowards also features contributions from an impressive array of musicians, including Danish experimental artist Clarissa Connelly, composer Tony Njoku, Pozi’s Rosa Brook, percussionist Zands Duggan, and the Ruisi Quartet, who contribute violin, viola, and cello to the album’s intricate arrangements.

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In support of Cowards, Squid will embark on an extensive UK tour beginning in February 2025, with the first date in Liverpool on February 17. The band will perform across the UK in cities including Manchester, Glasgow, Newcastle, and Sheffield, before concluding the run with a highly anticipated show at London’s Roundhouse on April 26. Tickets for the tour are available now here, and fans can expect a live set featuring new material alongside fan favourites from Bright Green Field and O Monolith.

 

 

 

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The album announcement follows a special one-off intimate show in New York City on November 12, where the band previewed several tracks from Cowards live for the first time. This included ‘Crispy Skin’, the album’s lead single, which has already been released in anticipation of the full album. Squid treated the packed crowd at DROM to a mix of new material, including the unreleased tracks Building 650 and Cro-Magnon Man, giving fans a glimpse into the darker, more experimental direction of Cowards.

Crispy Skin was released ahead of the album to introduce listeners to the dystopian themes that permeate Cowards. Lyrically inspired by Agustina Bazterrica’s novel Tender Is The Flesh, the track imagines a world where cannibalism is the societal norm. Lead singer Ollie Judge said to NME that ” the reality of having a moral-compass in dystopian stories of desperation and horror would be extremely difficult”. The single’s release was accompanied by a music video directed by Takashi Ito, which adapts his 1995 experimental short film Zone, distilling the unsettling tone of the song with stark, surreal imagery.

With Cowards, Squid continue the thematic exploration which has made their name, offering a more expansive and complex vision compared to their previous sound which incorporated crunchy krautrock guitar and David Byrne-inspired vocals. The record builds on the artistic risk-taking of O Monolith while venturing into new sonic territories, incorporating elements of avant-garde, jazz, and electronic music into their ever-evolving style. Pre-order here Cowards now, and catch Squid live across the UK early next year.

Green Day, a longstanding figure in pop-punk, headlines the festival’s opening night. Despite having been a fixture in rock for decades, this will be the band’s first performance at Download, and their new billing reflects a renewed relevance following the release of Saviors earlier this year. The album was widely praised, with Classic Rock’s Mark Beaumont describing it as “the sound of reassuring rebellion from the midst of the 21st-century breakdown”.

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Following Green Day, Saturday will see Sleep Token’s anticipated ascent to headliner status. The enigmatic UK band has seen a meteoric rise, moving from Download’s smaller stages to the pinnacle of its main stage within just a few years. Known for their atmospheric blend of metal, pop, and ambient music, Sleep Token gained substantial traction in 2023, largely due to viral exposure on TikTok, making their announcement today a surprising one to many metal fans. Their most recent album, Take Me Back to Eden, was released in 2024 to considerable acclaim. Download chief Andy Copping explained to NME that the decision to elevate Sleep Token stems from their recent success and popularity, saying, “It’s time. It’s Sleep Token’s moment,” adding that the festival has often led the way in breaking newer acts, from Slipknot to Bring Me The Horizon.

 

 

 

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Rounding out the top of the bill is nu-metal stalwart Korn, who last performed at Download in 2022 as a main-stage support act. Although they have been part of Download’s line-up since 2004, 2025 will mark the first time Korn headlines the festival. Their career-spanning set is expected to draw from their 30-year history, including fan favourites from their recent Gunnersbury Park performance, which attracted a record UK crowd. The band is reportedly working on new material, adding further anticipation to their Download headlining debut.

.@DownloadFest 2025? Fuck yeah!

Tickets on sale Thursday at 9PM here: https://t.co/aD8KptBxLT.#DLXII pic.twitter.com/MrgwvZdE2d

— The Darkness (@thedarkness) November 12, 2024

In addition to the headline acts, the festival will feature a diverse range of bands and artists, from punk to extreme metal. Notable inclusions are Weezer, Jimmy Eat World, The Darkness, Alien Ant Farm, Bullet for My Valentine, and Frank Carter’s collaboration with the Sex Pistols. Further down the bill, acts such as Cradle of Filth, Steel Panther, Meshuggah, Poppy, and McFly provide breadth to this year’s programming. “There’s something for truly everyone,” Copping remarked to NME, emphasising the festival’s need to adapt and sustain a broad appeal to survive.

But wait, there’s more! UK, you’re in luck because we’re playing @DownloadFest in June (!!!) AND a show in Halifax on 30th June @ Piece Hall. The mailing list pre-sale for all of the headline shows starts tomorrow at 10am GMT/11am CET. Sending the code out in 2 hours, sign up… pic.twitter.com/Ujk9v7MUE4 — weezer (@Weezer) November 12, 2024

Download’s organisers appear to be continuing a trend of expanding the definition of a “rock” festival, following a 2024 event marked by quarrels about genre and sponsor controversies. Last year’s line-up, headlined by Queens of the Stone Age, Fall Out Boy, and Avenged Sevenfold, was criticised for under-representing traditional metal acts. The event faced last-minute challenges, as multiple artists withdrew in response to Download’s sponsorship by Barclaycard, which later withdrew after facing scrutiny.

Photo credit: Raymond Flotat

This special run of shows will see Daltrey backed by his renowned nine-piece band, featuring long-time Who collaborator Simon Townshend on guitar and vocals. Roger Daltrey has been performing with his current nine-piece band since 2018. This ensemble joined him for the release and promotion of his solo album As Long As I Have You. With the group, Daltrey has focused on bringing new textures and richer sounds on old material, compared to the rawer edge of his and The Who’s earlier career, including incorporating Katie Jacoby’s violin on arrangements.

Legendary rock singer Roger Daltrey will be hitting the road in 2025 on a special solo tour packed with classic The Who songs, solo hits and his now-famous Q&A sessions, in which he opens up to the fans who have been with him throughout the decades.
In a run of unmissable… pic.twitter.com/DpDMi83p97

— The Who (@TheWho) November 11, 2024

Daltrey said in a press release via The Who’s website: “Here we go again! After touring the US with this band of phenomenal musicians, I can’t wait to get back on the road in the UK with these shows. It’s a joy to be on stage performing—up close and personal for the audience, chatting with them and playing familiar songs in an unfamiliar way.”

Daltrey’s solo career began in 1973 with his debut single, Giving It All Away, which reached number five on the UK charts. His most recent release As Long As I Have You was well reviewed and achieved a top-10 spot in the UK. Daltrey’s solo discography grew with albums like Ride a Rock Horse (1975) and One of the Boys (1977), which showcased the singer’s comfort in a range of genres. Under a Raging Moon (1985), his tribute to The Who’s late drummer Keith Moon, is one of his most celebrated solo works, featuring contributions from prominent drummers like Stewart Copeland and Carl Palmer. The album’s title track, along with “After the Fire,” written by Daltrey’s The Who bandmate Pete Townshend, became fan favourites.

Meanwhile, Pete Townshend has confirmed that The Who will “definitely” return in 2025, though the specifics remain undisclosed. In recent interviews, Townshend hinted that the band may depart from its recent orchestral tours to explore a rawer, smaller-band format. Reflecting on the future, Townshend expressed a desire to revisit an earlier sound and an earlier ethos, saying: “We’re eager to make a noise and make a mess and make mistakes.”

Sam Fender has set the scene for his upcoming UK and European tour by teasing a section of a widely anticipated new single titled ‘People Watching’, signalling the imminent full release of the track that fans of the North Shields artists have only heard in a handful of live performances. Fender set the anticipation building with a mysterious countdown on his website counting down to a release at midnight on Wednesday 13th November.