– December 7 – 3Arena, Dublin, Ireland

– December 9 – Corn Exchange, Edinburgh, Scotland

– December 10 – O2 Academy, Glasgow, Scotland

– December 18 – O2 Academy Brixton, London

-December 20 – Eventim Apollo, London

Formed in 1975, the beloved, British band are well known for their controversial lyrics, anti-establishment stance, and all-round rebellion. The bands debut album, ‘Never Mind The Bollocks, Here’s the Sex Pistols’ is globally regarded as one of the most influential punk albums of all time. Despite the bands initial short lifespan of just two and a half years, they have forever left their mark on the punk rock genre. In modernity, fans are overjoyed to see them back on stage blasting their best classics with an altered vocalist.

Not only were The Sex Pistols known for their cutting-edge way with words they directly impacted the punk scene with their choice of clothing and hairstyles. Their outfit choices and political standpoints were quickly adopted by fans everywhere.

The group made their grand return in 2024 with a fresh vocalist and a new lease of life. Alongside the December dates the band are set to play the following shows this summer:

– July 11 – The Piece Hall, Halifax Live, Yorkshire

– July 12 – Castlefield Bowl, Manchester

– August 1 – Castle Depot Live, Cardiff

August 2 – Open Air Theatre, Scarborough

The tour lineup is set to feature original members, guitarist, Steve Jones, drummer Paul Cook and bassist Glen Matlock. Joining the original band members is Frank Carter, known for his roles playing in the bands, Gallows and Frank Carter and the Rattlesnakes. Carter is stepping in as lead vocalist for this run of shows filling in the role from earlier vocalist John Lyndon, famously known as Johnny Rotten who has since publicly stated he will not be returning to the band.

This mixture of original members and Carter has heightened interest for the shows, specifically since Carter is known for his own high-energy punk performances that fit well within The Sex Pistols’ ethos.

This tour announcement represents one of the most significant punk anniversaries, The Sex Pistols helped pave the way for countless other artists of the same genre to preach the very same message. We cannot wait to see the band that helped launch an entire scene take to the stage once more.

Tickets for the celebratory spectacular go on general sale from 9am Friday, February 27.

“When I first heard that the Sex Pistols were touring this year without me it pissed me off. It annoyed me,” Lydon said. “I just thought, ‘They’re absolutely going to kill all that was good with the Pistols by eliminating the point and the purpose of it all.’”

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Lydon went on to call the tour a “karaoke” act, suggesting the lineup were trivialising the Pistols’ history. “They’re trying to trivialise the whole show to get away with karaoke, but in the long term, I think you’ll see who has the value and who doesn’t,” he said. He also added, “I’ve never sold my soul to make a dollar. It’s the Catholic in me – that guilt I don’t want to trip.”

Lydon hasn’t performed with his former band since 2008, but tensions between the two ignited again in 2022 over the release of Danny Boyle’s miniseries, ‘Pistol’, based on a memoir from guitarist Steve Jones. Lydon had no involvement or input on the series, and criticised the historical accuracy of events within. Jones responded to the singer, telling him to “grow up and move on,” and explaining that it was based on his experiences, not Lydon’s.

The current lineup of the band first played together at a gig at London’s Bush Hall, where they were raising funds for the iconic venue. Lydon questioned their motives, suggesting that it wasn’t an entirely altruistic endeavour. A source quoted by The Sun suggested that the shows were also meant to send a message to Lydon. “These Pistols gigs aren’t just for charity, they’re to show Rotten how rotten they think he’s been to the rest of the band over the years,” the source said. “Rotten thinks he IS the Pistols, but these gigs will show they don’t need him anymore.” Lydon reportedly dismissed the reunion as “b****cks.”

Reactions to the PiL frontman’s latest comments have been mixed, with one X user calling him a hypocrite, claiming that Lydon initiated previous reunion tours. Underneath the same post, another X user compared the shows to Queen touring without Freddie Mercury.

Poor Johnny Forgotten.
Always moaning and moaning. Phone your orange friend TRUMP and ask if you can cry on his shoulder.

YOU started the KARAOKE thing with those SEX PISTOLS reunion tours back then. Hey, @lydonofficial once a HYPOCRITE, always a HYPOCRITE. pic.twitter.com/HyITkEz4jX

— TURN UP THE VOLUME (BLOG) (@TurnUpBlog) February 19, 2025

Controversy is nothing new to the band, and the current feud hasn’t affected sales for their upcoming show at the Royal Albert Hall. Raising funds for the Teenage Cancer Trust, the show is effectively sold out, with only resale tickets available on Ticketmaster. Beyond that performance, the Pistols will also play at Download Festival, Glasgow Summer Sessions, and various international dates, taking them across Europe, with stops in Australia, New Zealand, and Brazil too.

Whether the band still has that spark that ignited the UK punk explosion in the 70s or not, their upcoming shows will be a chance to see one of the most influential bands of the last 50 years. Meanwhile, Lydon will be taking PiL around the festival circuit this summer too.

#TeenageCancerGigs at the Royal Albert Hall is back for 2025, with another incredible line-up

Tickets on sale Friday 31st Jan at 9amhttps://t.co/e6jo2B8WzP pic.twitter.com/0d1VWsDmc7

— Teenage Cancer Trust (@TeenageCancer) January 27, 2025

The Who will perform two shows during the week, bringing their timeless hits to the historic venue. They rose to fame in the 1960s and are credited with helping shape the modern rock genre. They are best known for their album ‘Who’s Next‘ (1971), which includes classic tracks like ‘Baba O’Riley’ and ‘Behind Blue Eyes’. The band’s lead singer, Roger Daltrey, has also announced a tour for 2025, starting on April 20 in Brighton. A special collaboration between Frank Carter, Paul Cook, Steve Jones, and Glen Matlock brings together punk history with an explosive performance. This night promises to pay homage to the punk legends of the Sex Pistols, who were pivotal in shaping the British punk movement. Their participation adds a rebellious spirit to the 2025 lineup. This one-off performance is expected to be a highlight of the week.

 

 

 

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The chart-topping singer-songwriter James Arthur will headline on Wednesday, March 26, offering an evening of his soulful melodies. The singer is most known for winning the ninth season of The X Factor UK in 2012, which catapulted him to fame. His debut single, ‘Impossible’, became a massive hit, topping the UK Singles Chart and selling over a million copies in the UK alone.The Corrs are known for their distinctive blend of pop, rock, and traditional Irish music. The band consists of four siblings, who are celebrated for seamlessly incorporating Celtic influences into mainstream pop music, creating a unique sound that resonates globally. This fusion helped them stand out in the 1990s and 2000s, bringing Irish music to an international audience. The Corrs’ biggest hit on the UK Singles Chart was ‘Breathless’, released in 2000. The song reached No. 2 on the UK Singles Chart and became one of their most iconic tracks.The Teenage Cancer Trust concerts have been a cornerstone in raising funds and awareness for young cancer patients, with all proceeds supporting the charity’s vital work. This year’s lineup continues the tradition of bringing together top-tier talent to make a meaningful impact. Tickets for these events will be available from midday on January 31, 2025 and can be purchased through the Royal Albert Hall’s official website.

Members of the pioneering British punk rock band Sex Pistols, Paul Cook, Glen Matlock, and Steve Jones will perform alongside tackling grunge singer Frank Carter who has been a part of groups such as Gallows, Pure Love and Frank Carter and the Rattlesnakes. In an Instagram post dated the 3rd of June, Carter thanked the band for their ‘invitation’ to play the show with them. According to Blabber Mouth, Carter noted that the project “has been a joy from start to finish. When the Sex Pistols call, you answer. I’m very excited to be a part of it.”

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For Sex Pistol Drummer Cook, this is a cause extremely close to his heart as Bush hall is his local venue and he grew up around the area. Situated in West London, Bush Hall has hosted acts the likes of Amy Winehouse, The Killers, Adele, Alicia Keys, Florence & The Machine, Ed Sheeran, Bombay Bicycle Club and James Acaster. I also welcomed Kings Of Leon for their first UK show in 2006 and has been open since 1904. Bush Hall was originally part of a trio of dance halls but it has had many lives including acting as a soup kitchen throughout WW2, a rehearsal space for some of the greats like Cliff Richard and The Who as well as a snooker and social club in the 80s and 90s. It was finally returned to its ‘former music glory’ in 2001. The venue is fully independent and offers an intimate environment for shows as its capacity is 430+ guests standing and 285+ guests seated. You can read more about Bush Hall on their website via the link here.

The venue team at Bush Hall are working with artists, agents and promoters to raise funds not just for Bush Hall itself but for the entire grassroots industry in its broader scheme as well as with the Music Venue Trust to foster a more sustainable way for venues to continue to survive into the future. According to an article from NME the venue were ‘four months away from “making a hideous decision” about whether to cease hosting live music events’ in March of this year and then needed to raise £42,000 via crowdfunding to sustain itself. The grassroots venues industry is experiencing a catastrophic downsizing with the ‘total the number of GMVs declining from 960 to 835 in 2023′ as reported in the 2024 Grassroots music venues House of Commons report which you can read here. Fund raising gigs like this one are vital for the continual existence of venues like Bush Hall that keep the music industry fresh and packed with new talent.

Tickets for the show go on sale tomorrow, Wednesday the 5th of June at 9am BSt and you can grab them from the Live Nation website here.

Speaking on the new single, Carter explained, “We talk about how rock and roll will never die, but we never really talk about how maybe the idea of the rock star should die. The whole concept and what it means has always been this glamorised moment, but ultimately when I put that suit on, it didn’t go very well for me. I’m just witnessing the world change so quickly and I’m still trying to come to terms with who I am and what the authentic version of me is. By giving people what I thought they wanted I think I got further and further away from who I actually am.”

Guitarist Dean Richardson further shed some light on the new album, saying, “Normally we don’t look backwards when making a record, but this has been looking to reach us for a long time. Some songs are old ideas reworked, fresh eyes on something that didn’t quite fit on their other records. Some of these songs were lost along the way because basically we didn’t really give them the space.”

Emerging from the ashes of Carter’s split with hardcore band Gallows in 2015, Frank Carter And The Rattlesnakes found mainstream success with their fun, often politically and socially charged mixture of hardcore punk and pop that characterises their sound. A highly charismatic and high energy frontman, Carter tempers his hard-hitting image and sound with a pledge to offer fans a safe environment at their shows, often encouraging equality and inclusivity.

Frank Carter And The Rattlesnakes will be heading out on an international tour with a UK and European leg set to kick off in February. Dark Rainbow is due for release on 26 January. Pre-order the album here. Purchase tickets to the tour here.

Frank Carter And The Rattlesnakes Tour:

06/02/2024 – The Great Hall – Cardiff
07/02 – O2 Academy – Bristol
09/02 – Academy – Manchester
10/02 – Northumbria Uni Student’s Union – Newcastle
11/02 – Barrowland – Glasgow
13/02 – O2 Academy – Leeds
14/02 – Wulfrun Hall – Wolverhampton
15/02 – Roundhouse – London
16/02 – Roundhouse – London
22/02 – Metropole – Berlin, Germany
23/02 – Live Music Hall – Cologne, Germany
24/02 – Bataclan – Paris, France
26/02 – AB Main Hall – Brussels, Belgium
27/02 – Poppodium – Tilberg, Netherlands

Musings on misery aside (and speaking of songs), one very positive thing that came from 2021 was a surge of fantastic and exciting music from all over the world. Our sister site, mxdwn.com, compiled a Top 50 albums of 2021 list with some excellent picks from this year’s massive roster. You can check that article out here.

Geographical scale be damned, the United Kingdom has always been a hub for fantastic music, decade after decade birthing innovating and head-turning new artists. 2021 has been no different, and as a result, we’ve compiled a top ten list of our own to celebrate (and perhaps introduce people to) some thrilling new British music.

10). Frank Carter & The Rattlesnakes- ‘Sticky’

Sticky is an album fuelled by that mosh-pit energy. Fast paced guitar riffs and heavy drumbeats really raise your excitement levels to a peak before it’s really even begun. Over lockdown, many of us likely dreamed about the day we could mosh and sing along to our favourite bands at huge gigs, a club, or even just at your local pub. Sticky truly represents that feeling. The opening track is all about that release of pressure that captures the fizzy, visceral thrill of pleasure-seeking. Then we get songs like “Bang Bang” and “Take It To The Brink” which you can really jump around to. Though it’s not all about releasing our pent-up energy we dive a bit deeper with tracks like “Rat Race” which attacks the callous opportunism of political figures who used the pandemic to increase their wealth. One of the best songs on the album is definitely the collaboration with Idles “My Town”, focusing on issues such as urban decay and men who can’t discuss their feelings. This is a fearless album and an absolutely banging indictment of the last two years that will resonate beyond his usual audience.

-John Weightman

9). Cleo Sol- ‘Mother’

Cleo Sol’s Mother is an hour-long story of welcoming a child into the world. The voice behind the mystifying mercury awards nominated soul group Sault, Cleo Sol is known for her soft and soulful voice. Throughout her album Mother the singer showcased her talent not only through her voice but with her immense songwriting and beat selection. While her album is presented as a letter to her newborn child, the emotion and feelings amplified throughout the project sit with listeners no matter their circumstance.  The singer’s colossal project was well-received critically, with Cleo receiving three nominations at the 2021 Mobo Awards having been nominated for Best Female Artist of the year, Best RnB/Soul Act and Album of the Year. Despite not attending the awards show in Coventry, the eclectic singer took home the award for Best RnB/Soul acts, an award that cemented her as one of the best the UK has to offer.

-Noah Fashesin

8). PinkPantheress- ‘To Hell With It’

20-year-old singer, songwriter and producer PinkPantheress is just one of many British artists who broke out in 2021 with a hugely successful album.  The Bath born artist initially found fame within the popular app TikTok; whilst studying the singer shared various tracks onto the platform. The tracks went viral and consequently the singer was signed to the major record labels Parlophone and Elektra Records. To Hell With It was released on 15th October 2021, the release was PinkPantheress’ debut mixtape and was received with great critical acclaim. The album serves as a homage to 2000s’ music with heavy sampling and smooth lines encompassing the album’s material. With a sample from the classic garage track “Flowers” by Sweet Female Attitude, the release’s opening track “Pain” transports the listener to the heyday of the genre. The track was released as the album’s second single and sired great success within the UK charts. PinkPantheress’ tribute to influential genres can also be heard in “I Must Apologize”, the track utilises a sample of “Gypsy Woman” by Crystal Waters to create an effortless house track. Throughout the album listeners can hear further influences from various genres including nu-metal, as heard in “Last Valentines” which incorporates a sample from “Forgotten” by Linkin Park.

-Sophia-Elizabeth Tuck

7). Floating Points, Pharoah Sanders & The London Symphony Orchestra- ‘Promises’

Every year seems to bring with it one wild card combination that no one necessarily asks for, or maybe even considered. 2021, a year that never seemed to do anything in half measures anyway, delivered to us one of the best curveballs in a good while; Manchester’s own IDM maestro Floating Points takes us on an ambient journey with backing from The London Symphony Orchestra to give us a new Modern Classical gem. But… the addition of John Coltrane alum Pharoah Sanders takes us from a progressive piece of electronic joy, to a minimalist chamber jazz movement that is absolutely greater than the sum of its parts. The 3 collaborators elevate each other in such a way that it absolutely worth investing 45 minutes of your time, and a bit of cash for a decent pair of headphones, to fully absorb the interstellar encounter. My first experience with a new oxymoronic genre, grand-minimalism. 

-George Carter

6). Little Simz- ‘Sometimes I Might Be Introvert’

It is through no luck or coincidence that SIMBI has been featured on almost every end of year list you can care to name. Any assumption that she peaked with GREY Area was put out within seconds of her 2021 release, with Simz somehow coming back stronger after an imponderably strong 2019 release. Laid over a dizzying myriad of styles, Simz impresses with a mature flow, laden with story-telling sensibilities and quotable, declarative statements on life, love, and the pursuit of happiness. Refusing to be pigeon-holed into one style or another, she shifts energies like outfits, from the gritty heaviness of “Speed” and “Rollin Stone”, to the blissful serenity of “I See You” and “Woman”, and again to the soulful, Afrobeat influenced ‘Point and Kill’ and “Fear No Man” toward the end, spitting over Afrika 70-esque beats that would entice a murmur from the late, great Tony Allen. There surely is something for everyone on this record, making it difficult to identify a leading single, a stand-out track, or even a track which typifies the album. With SIMBI, pieces form the whole, making it necessary to listen to the album, cover to cover, just like the old days. 

-Charlie Walker

5). black midi- ‘Cavalcade’

Following on from their explosive art rock/noise-rock/post-punk/post-everything debut Schlagenheim, London’s black midi ventured into slightly more prog-rock oriented territory with their second record, whilst also managing to avoid shedding their quirks and eccentricities that made them so terribly exciting in the first place. The riffing is still unpredictable, jagged and dissonant in many places, especially with the addition of saxophonist Kaidi Akinnibi and pianist/keyboardist Seth Evans, who add a whole new dimension to the group’s sound. Like a book penned by a master storyteller, the record gives the listener something unexpected and fresh with each song; from the screaming John Zorn-esque saxophone that meanders through “Slow” to the earworm bass guitar riff that grumbles beneath Geordie Greep’s accentuated, theatrical vocal delivery on “Dethroned”. Amidst a slew of creative experimental rockers coming out of the UK, black midi have proved once again that they are up there with the best of them.

-Julian Harding

4). Squid- ‘Bright Green Field’

Another crucial band in the UK’s roster of groups who undoubtedly have had every “post” label under the sun applied to their idiosyncratic and experimental sound would be Squid, hailing from Brighton. To put Squid into one box would be a pointless exercise, as with this ambitious debut full-length record the band has shown masterful control of blending their influences, in such a way that each track is a surprising and sometimes dizzying rollercoaster ride through a myriad of different genres. Drummer and vocalist Ollie Judge’s dynamic delivery of tales of dystopia in “G.S.K.” and musings on death by reckless driving in “Boy Racers” are captivating and reflect each and every lyric, whether he is howling in frustration or mumbling underneath an atmospheric drone. The guitars on the album are often defined by a glassy clean tone, spitting out math-rock inspired riffs with more than a hint of jazz influence at times, while an array of other instruments drop in and out to add to the experimental chaos. This stunning debut displays a clear and carefully crafted development from Squid’s pure post-punk beginnings, making the group one to watch for any experimental rock fan.

-Julian Harding

3). James Blake- ‘Friends That Break Your Heart’

James Blake’s Friends That Break Your Heart has to be on this list for a number of reasons, too many to count here. Suffice to say, everything just works perfectly. Opening up for a much more pop-style than he’d allowed himself in recent years, the album’s production is filled with this low-key intensity that makes the most out of every tiny detail, every sound allowed to shimmer and shine through the murk. With brilliant songwriting that combines his talent for memorable tunes and rich, emotionally nuanced harmony, the album doesn’t need to rely on production alone to have an impact. And then there’s that voice. That moment in “Say What You Will“ when he holds the highest note, yet remains tender and restrained, with the backing vocals continuing to circle around beneath him. If that’s not among the most beautiful moments in pop today, then I don’t know what is.

-Calum Moran

2). Sam Fender- ‘Seventeen Going Under’

Seventeen Going Under is one the most real and relatable albums released this year. While the primary musical influence of Springsteen is still clearly remains, Fender tells his own stories and creates his own motifs rather than borrowing common themes used by the Boss. Though there are still elements of this Fender executes it with his own now more developed and unique style. The opening title track incorporates a folk-inflected guitar motif and stripped-down drum beat that underpins Fender’s precise and evocative lyrics looking back on his teenage years. He returns to the subject of toxic masculinity previously explored on his debut album, the singer traces the links between violence and unresolved anger, while also reflecting truthfully and angrily on the brutal impact of a Department of Work and Pensions decision on his family. Fender’s ability to lay bare the conflicts and issues of masculinity in the 21st century is an almost unflinching approach to an often-taboo subject area. He has really developed his own lyrical style, shedding some of the more obvious Springsteen narrative motifs in the process.

-John Weightman

1). Black Country, New Road- ‘For The First Time’

Post-punk, post-Brexit new wave, experimental-rock, call it whatever you will. But no other group sums up the creative intelligence, anti-establishment attitude, or conspicuous self-awareness of the movement better than “Black Country, New Road” and their stunning debut For the First Time. This is a record that feels exciting, and despite coming out only three years after their arrival on the scene, it sounds sharp. Sharp like a band that have been honing their sounds for years. Because of this it’s hard to tell if the group will ever sound like this again. Isaac Wood’s droll wit is anxious to the core, and when paired with the obtuse, angular foundations from the rest of the band; it just sounds like lightning in a bottle. This is undeniably some of the most exciting music you’ll hear all year, it feels encompassing and unlimited in its creative direction. The fact this is their debut still shocks me. 

-George Carter

Singles like “Go Get A Tattoo”, “Off With His Head”, and previously mentioned “My Town”, shows the dedication to mosh heavy rock that Frank Carter has been blasting out to crowds for 6 years- if we don’t include his work with previous bands. With a new love for featuring artists on his songs that we haven’t seen before in previous albums.

With sophomore Modern Ruin (2017) and follow-up album End Of Suffering (2019), Carter has made a name for himself as a stand-out performer and forward-thinking musician. But, Sticky shows his dedication to the craft, while outshining anything he’s done before. Sticky is the fourth album from tattoo enthusiastic Frank Carter and his rhumba of rattlesnakes. It is great to see that they are still coming up with new and inventive ways to get people to simultaneously Cathrin-wheel their arms and ripping their vocal cords repeatedly shouting “Bang Bang”. Sticky is sure to be topping the charts this coming week, as Frank Carter songs like “Cobra Queen” receive thousands of streams.

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With tour dates starting in just under a month, Frank Carter will be blowing up stages across the UK. Starting off with a killer show at Nottingham Rock City on the 11th of November. Flooding through Southampton, Birmingham, and even Manchester, on this course for mayhem. Hoping to see a setlist as full of hits as his recent festival shows, with the biggest tracks from his new album. We are sure these tickets will sell out – so hurry to get yours here.

Frank Carter tour dates:

Carter described the track as being “about that moment where you’re drunk at a bus stop at 3 am. You know there are no more buses, but you sit there anyway because you’re too fucked to figure out your options. Your kebab is on the floor, there’s a Stella in your pocket and you’re woken up by a dirty little fox eating your shoes.”
The upcoming album, was produced for the first time by the bands guitarist Dean Richardson and also features some big names such as Primal Scream‘s Bobby Gillespie, Lynks and Cassyette. When asked about the album Carter stated that “Someone described it to me as ‘they felt their youth’ when they were listening to the record,” adding that “When you make albums, those are the ones you want to make. Nostalgic, but classic. Timeless, and also modern.”

The punk rock group have previously previewed their new album with the track ‘My Town’, which takes a metaphoric look at the collective mental health of a nation after all the long arduous lockdowns. On the song they collaborated with IDLES frontman Joe Talbot.
Those who pre-order ‘Sticky’ from the band’s official store will then on July 14 at 10am local time receive early access to tickets for their latest tour. Details for said tour were announced around the same time they released the first single off the new album. They are set to tour UK and Ireland for November this year and will also play a pair of gigs at the O2 Academy Brixton in London in January before heading out on a European tour. After the early access period tickets will then go on General sale on July 16 at 10am local time.

Frank Carter & The Rattlesnakes also recently headlined the opening night of the Download Festival pilot, where they played to 10,000 people.

 ‘Sticky’ Tracklist:

1. ‘Sticky’
2. ‘Cupid’s Arrow’
3. ‘Bang Bang’ (featuring Lynks)
4. ‘Take It To The Brink’
5. ‘My Town’ (featuring Joe Talbot)
6. ‘Go Get A Tattoo’ (featuring Lynks)
7. ‘Off With His Head’ (featuring Cassyette)
8. ‘Cobra Queen’
9. ‘Rat Race’
10. ‘Original Sin’ (featuring Bobby Gillespie)

Frank Carter & The Rattlesnakes UK and Ireland tour:

10/11/2021 Academy – Dublin
11/11 Rock City – Nottingham
13/11 UEA – Norwich
15/11 Guildhall – Southampton
16/11 O2 Academy – Bristol
17/11 Engine Shed – Lincoln
19/11 O2 Academy – Birmingham
20/11 O2 Academy – Newcastle
22/11 Barrowland – Glasgow
23/11 Corn Exchange – Edinburgh
24/11 O2 Academy – Liverpool
25/11 Academy – Manchester

The band relayed all the details to followers via social media, revealing that they’ll be playing on Friday 13th November at 8pm BST, and fans will choose the setlist as well as being able to “invade the stage” virtually. General sale tickets will be sold from Wednesday 14th October at 10am, and tickets bought before midnight will allow a chance to be shown on stage.

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Brixton. By Request. We’re getting back on stage via the powers of @melodyvirtual, and you are all coming with us. You are going to pick the setlist (), and invade the stage via giant screens looming over us.⁠ ⁠ We’ll see you @o2academybrix on Friday 13th November. Tickets bought before 23:59 on Wednesday 14th October put you in with a chance to be on the stage. Screen space is limited so get your tickets fast  General sale starts 10.00am BST on Wednesday.⁠ ⁠ Our shows, in person or virtual, aren’t right without you all involved.

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⁠Frontman Frank Carter gave more insight into the show, saying, “There are few places like O2 Academy Brixton, a venue where you feel the history every time you walk out onto the stage. Our sold out Brixton show a few years back was wild and we had to create a live album from it.”

This specific show has been dubbed ‘Brixton By Request’ in the ‘Live From O2 Academy Brixton’ series, and it will feature live versions of songs from the band’s new deluxe rendition of their 2015 debut album ‘Blossom’. Announced in June, it was disclosed that in addition to the ten original tracks, there will be fifteen unreleased songs.

Carter said of the release, “It all started with Blossom, an incendiary record as visceral as it was chaotic. An experiment in capturing pure emotion. To commemorate this prestigious event we have curated a special version of the album. Included with the original studio recordings are three previously unheard tracks that were recorded in the same session. We listened to them recently and sadly enough they sound as though they were made for the year 2020.”

The upcoming performance follows that of Tom Grennan who kicked things off last week on Friday 2nd October, debuting new material and playing his most popular hits. He commented, “Nothing can replace the thrill of live music, especially in a venue as iconic as O2 Academy Brixton.”