A powerful night of live music is set for London this summer, as Public Service Broadcasting and Big Special come together for a one‑off benefit concert in memory of James Borrer, the much‑loved SO Recordings team member who passed away from cancer in January 2026. The show takes place at Indigo at The O2 on 13 July 2026, with tickets on sale from 10am on 24 April HERE.

Created in partnership with Bowel Cancer UK, the event aims to raise awareness of the symptoms of bowel cancer while celebrating the life of a man whose passion for music shaped his career, his friendships, and countless unforgettable nights out. All proceeds from the concert will go directly to James’ young family.

For Big Special, taking part in the show is deeply personal. “It was an honour to have known James,” they said. “He always had a way of seeing the positive in everything… By playing this show we want to embody the joyous, victorious and positive spirit James carried, and celebrate everything he was.”

Public Service Broadcasting echoed the sentiment, calling it “a fundraising night in memory of James Borrer, raising money for his family and awareness for Bowel Cancer UK,” adding that they hope as many people as possible will join them in supporting the cause.

Behind the scenes, James’ colleagues at SO Recordings have poured their hearts into creating a night he would have adored. James was a fixture in the UK music scene — tall, beaming, always moving to the beat — whether he was squeezed into the Dublin Castle or swept up in the enormity of Wembley Stadium. He lived for the shared electricity of a crowd and the communion of a great band onstage.

Public Service Broadcasting and Big Special were among his favourites, but more than any single artist, James loved the experience of live music: the day trips, the weekend crawls across cities, the festival fields, the camaraderie. This show is built in that spirit — a celebration, not a memorial.

In a rare and touching gesture, Public Service Broadcasting, Big Special, Indigo at The O2, and ticketing platform AXS are all donating their time, hire fees and booking fees to maximise the support for James’ family.

The concert also carries an important message. According to Bowel Cancer UK, 1 in 17 men and 1 in 20 women will be diagnosed with bowel cancer in their lifetime. Early detection is critical: more than 90% of people survive when the disease is caught at its earliest stage, compared to just 10% at stage 4.

James’ story — initially mistaking symptoms for colitis — is tragically common. This event aims to shine a light on those symptoms and encourage people to seek help early.

Tickets for the benefit concert go on sale 10am, 24 April 2026 HERE. With two beloved bands, a powerful cause, and a community determined to honour a friend, this promises to be one of the most meaningful live music moments of the summer.

A night for James. A night for awareness. A night for the unifying power of music.

Well, it’s nearly time to dust off your Stetson, pull on your cowboy boots, and make your way to The Long Road Festival at Stanford Hall in Leicestershire, returning in style from 27–30 August.

A true family‑friendly celebration of country culture, The Long Road offers six stages of fantastic music spanning roots, Americana, and everything in between. This year’s standout is one of the genre’s all‑time greats: Emmylou Harris, appearing as part of her European Farewell Tour. She’s an icon you simply don’t want to miss.

Also joining the bill is Steve Earle — and with Emmylou having famously duetted with him on I Remember You from his 2002 album Jerusalem, here’s hoping for a magical on‑stage reunion.

Beyond the music, the festival serves up an eclectic mix of food and drink, plus quirky touches like a stage complete with a rocking chair and smoking chimney. And keep your eyes peeled — country artists are country fans too, so you might just find yourself standing shoulder‑to‑shoulder with one of them.

It’s the perfect way to spend the bank holiday weekend: celebrating country culture, soaking up the atmosphere, and making memories that linger long after the festival comes to a close.

Here are some acts that we think YOU should be making a beeline for over the weekend.

FRIDAY

STEVE EARL

Steve Earle is an American country, rock, and folk singer-songwriter. He began his career as a songwriter in Nashville. Earle's breakthrough album was his 1986 debut album Guitar Town; the eponymous lead single peaked at number seven on the Billboard Hot Country chart.

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STRIKING MATCHES

Striking Matches are an American duo consisting of guitarists/songwriters Sarah Zimmermann and Justin Davis.

Meeting in a guitar seminar class at Nashvilles Belmont University in 2007, Zimmermann and Davis combined their talents and began honing their songwriting and performance skills. Shortly thereafter, they quit school to pursue their music career full-time. The duo made their performing debut at Nashville's Bluebird Cafe. They self-released a self-titled EP in October 2012.

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MIA KELLY

Mia Kelly is an award-winning singer-songwriter from Gatineau, Quebec, making her mark on the Canadian folk music scene with a distinctive blend of folk, rock, and blues. Since releasing her debut album Garden Through The War (2022), she has been recognised as a poetic lyricist with a powerful and versatile voice. Known for her ability to weave the stories of those around her into her music, Mia is an imaginative storyteller who channels raw, vulnerable emotion through expertly crafted songs.

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SATURDAY

KEN POMEROY

Ken Pomeroy is a Native American folk singer-songwriter of Cherokee descent from Oklahoma.

Pomeroy was raised in Moore, Oklahoma. She is a member of the Cherokee Nation.

Pomeroy took an interest in music at six years old after hearing the song "Leaving on a Jet Plane" by John Denver. She began writing songs at age eleven.

Ken Pomeroy will break your heart. She’ll do it with a single line––sometimes, just one word. The pain begins as an empathetic ache. Then, as Pomeroy sings her stories, you begin to see yourself in her hurt and hope. And you realise: We’re in this together.

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JASON SCOTT and THE HIGH HEAT

Caught halfway between amplified Americana and heartland roots-rock, Jason Scott & the High Heat create a sweeping, dynamic sound that reaches far beyond the traditions of their Oklahoma City home. Too loud for folk music and too textured for Red Dirt, this is the sound of a genuine band rooted in groove, grit, and its own singular spirit, led by a songwriter whose unique past — a Pentecostal upbringing, years logged as a preacher-in-training, and an eventual crisis of faith — has instilled both a storyteller’s delivery and an unique perspective about life, love, and listlessness in the modern world. 

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THE HANGING STARS

The Hanging Stars is a London-based band known for their "cosmic Americana" sound, blending 1970s psychedelic folk, country rock, and jangle pop. Their music is often compared to legendary acts like The Byrds, Big Star, and The Flying Burrito Brothers, featuring shimmering twelve-string guitars and lush four-part vocal harmonies. 

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SUNDAY

EMMYLOU HARRIS

Emmylou Harris is a legendary American singer, songwriter, and musician known for her "crystalline" soprano voice and her pivotal role in defining the country rock and Americana genres. Over a career spanning more than five decades, she has won 14 Grammy Awards, including a Lifetime Achievement Award in 2018, and has sold over 15 million records. 

Discovered in the early 1970s by Gram Parsons, Harris became his primary harmony singer and protégé. After his death in 1973, she carried on his "cosmic American music" vision with her breakout solo album, Pieces of the Sky (1975), which featured the tribute song "Boulder to Birmingham”.

As of April 2026, Harris remains active and is currently preparing for her European Farewell Tour. She was also recently inducted into the Nashville Songwriters Hall of Fame in October 2025. 

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ANNE WILSON

One of Nashville’s most inspiring young trailblazers, Anne Wilson is a revolution in modern music. The Lexington, Ky. native, known for her transcendent vocal and down-to-earth storytelling, recently released her new single, “God Story.” Her last album, REBEL, featured her hopeful, healing debut Country single “Rain In The Rearview” as well as her chart-topping Christian radio ballad “Strong.” The genre-bending album followed her GRAMMY-nominated 2022 debut “My Jesus,” with the title track becoming a PLATINUM-certified No. 1 hit on Billboard’s Christian Airplay chart.

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Kezia Gill

Midlands based Singer/Songwriter Kezia Gill, has been singing professionally for over 20 years. Born in Nottingham to a large musical family of Irish descent, her early years were spent surrounded by music. Her father, a professional musician for over 50 years and her single biggest influence, introduced Kezia to the world of performing, writing and most importantly, the vast back catalogue of music that has shaped her individual style. Pulling influences from a wide range of genres including Folk & Irish, Country, Rock and Blues, her sound is completely unique. She performs all over the UK, as well as the world, including previous shows in Europe, Australia and America bringing her individual and incomparable style to her original material. With her impressive vocal range, energy on stage and multi-instrumental talent, she makes every stage her own.

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As the bank holiday edges closer, The Long Road Festival promises more than just a packed weekend of music, it offers a place to settle in, switch off, and feel part of something bigger. Whether you’re chasing legendary sets, discovering new favourites, or simply soaking up the easygoing charm of Stanford Hall, this is where country culture comes alive. Dust off those boots, gather your crew, and we’ll see you in the queue.

For more information on the festival and to purchase tickets, click HERE

There are gig nights that run like clockwork, and then there are the ones that start with a plot twist. My trip to see COSM in Plymouth fell firmly into the latter. After playing their new single Black Holes on our Sonic Nomads podcast, I’d mentioned it to Emily from the band, who kindly put me on the guest list for their Plymouth date. Or so I thought.

Standing in the queue outside The Junction on Mutley Plain, I confidently told the man on the door I should be on the list. A quick scan later, he looked up and smiled: “They’re playing over the road at The Underground.” Not me losing my mind, just a double‑booking that had shifted the whole show across the street. Classic tour chaos, handled with a shrug and a laugh.

Inside, I caught up with Emily, met promoter Leo from Sweet Jeans, chatted with his partner, and introduced myself to the support band Worms Worms Worms, who were already buzzing for their set.

wormswormsworms (let’s refer to them as worms x3 from now on) hit the stage first, delivering a set that felt like a jolt of electricity through the room. Their sound, a wonderfully skewed, angular brand of post‑punk, sits somewhere between Yard Act, Dry Cleaning, and a dash of The Fall, but with a personality entirely their own. The four‑piece live between Plymouth, Totnes, Kingsbridge and Exeter, and that South West scrappiness comes through in the best possible way.

The first thing that grabbed me was the rhythm section. Tight doesn’t even cover it, the bass and drums locked together like elastic and steel, giving every track a backbone that snapped and flexed with precision. If the old saying goes “a band is only as good as its rhythm section,” Worms x3 are in very safe hands.

Mid‑set, the guitarist managed to break not a thin string, but the fat top string, a rare feat unless you’re absolutely punishing your instrument. Emily from COSM swooped in like a backstage superhero, lending her guitar and even sprinting off to get his restrung mid‑song. Punk spirit meets community spirit.

Their new track, introduced as being about a “passive‑aggressive haircut”, turned out to be an ode to the mullet, complete with a reference to Mel Gibson strutting around Temple Meads. It was absurd, funny, and brilliant. Another highlight, Bond, came with frontman Max shouting “Stop getting Bond wrong,” a perfect Alan Partridge nod that had the room grinning.

Max’s spoken‑word delivery tied the whole thing together, giving the set a conversational, observational edge. Worms Worms Worms are a band you need to see live to fully get, sharp, strange, and utterly compelling.

All wormswormsworms photos © tiabryantphoto

After a short changeover, COSM stepped into the lights for night seven of their 12‑date UK tour. Playing to an almost‑home crowd, they felt relaxed, confident, and ready to stretch out.

Their sound sits in a Venn diagram of psych, shoegaze, and indie rock, with flashes of Dinosaur Jr and The Beatles woven through the haze. Tom’s guitar solos were a standout, expressive, melodic, and delivered with the kind of ease that only comes from total trust in the band behind you. And that trust is well‑placed: the whole group plays with a cohesion that feels both expansive and intimate.

Between songs, Emily joked, “We might be from the wrong side of the Tamar, but we don’t bite,” leaning into the Devon–Cornwall rivalry with a grin.

Tom’s brother, whose name escaped me in the post‑gig blur, wielded a gorgeous Rickenbacker bass (which I found out belongs to Tom), one of those instruments that looks iconic before you even hear it. In this case, it sounded every bit as good as it looked.

Their new single Black Holes shimmered live, all Beatles‑esque swirl and melodic warmth. They followed it with another unreleased track, I Still Don’t Know, which they hinted would be the next to land on Spotify. With two new songs now in rotation since their debut EP, it feels like COSM are quietly building toward something bigger — maybe even a physical release for fans to get their hands on.

All COSM photos © Ankow Pictures

After the show, I grabbed Max from Worms x3 for a chat on Mutley Plain — the quietest spot we could find — diving into the band’s origins, influences, and new material.

Then it was back inside to catch up with Tom, Emily, and Tom’s brother about tour life: favourite cities so far, hip hop playlists, Nintendo Switch downtime, sofa‑surfing, and the joy of the occasional proper bed and shower. They hinted at more new material and future live dates on the horizon. Definitely keep an eye on their socials — announcements are coming. As I said my goodbyes, I wished them well for their May 1st homecoming show in Falmouth. If tonight was anything to go by, that one’s going to be special.

Words by Steve Muscutt

There’s a special kind of delirium that only music lovers understand, the kind that comes from stumbling home after a gig, ears still ringing, adrenaline still fizzing, knowing full well you’ve got to be up again in a few hours for something equally chaotic.

That was me. Home from Plymouth just after 1am, still wired from watching COSM tear the place apart. Into bed by 1:15. Asleep by… not then. Not for a while. My brain was still replaying riffs at 2am. And yet, at 6:09am, one minute before my alarm, I woke up victorious, as if I’d somehow beaten the system.

Clothes from the night before, bottle of water, keys, out the door. Newton Abbot was calling.

Record Store Day at Phoenix Sounds is never a quiet affair, but 2026 felt different the moment I arrived. The queue dominated the street. It wrapped around the corner, past the pub, and almost reached the old furniture shop. Easily over a hundred people by 7am, and that number didn’t seem to shrink even after the doors opened at 8.

And the dedication? Off the charts. Word was that the first people had arrived at 3:30pm on Friday, a full 16.5 hours before opening. That’s not commitment; that’s a lifestyle.

Some of the faces were familiar: Andy, Chris, Emma, the usual RSD faithful and members of the Album Assembly group, the monthly Newton Abbot vinyl meet-up where we talk records, drink pints, and enable each other’s collecting habits.

Roger and the Phoenix Sounds crew had set up a gazebo outside, manned by Charlie (ex-staff, still family), running a cash-only till to keep things flowing. Inside, the card machines were braced for impact.

Before the shutters lifted, I grabbed a few photos of the stock, and Roger had secured some absolute monsters this year. You could feel the tension in the queue as people clutched their lists like sacred texts.

Sleep Token’s caramel-filled 12” single was the talk of the early risers, a novelty pressing that felt destined to vanish instantly. The kind of item that becomes folklore.

David Bowie’s Hallo Spaceboy reissue had the collectors twitching too, a beautiful pressing that looked ready to teleport straight out of the racks.

Then there was the Bruce Springsteen Live from Asbury Park 5LP box, a heavyweight beast that had several people openly strategising about how to carry it home without dislocating a shoulder.

Self Esteem’s Cuddles 12” was another hot ticket, a release that seemed to attract both the diehards and the curious newcomers.

And of course, the Paramore All We Know Is Falling 2LP set, a reissue that had the younger crowd buzzing, especially those who’d discovered the band long after the original pressing became a grail item.

The George Harrison Dark Horse Zoetrope picture disc was one of the most visually striking items on the shelves, you could see people’s eyes widen as they realised how stunning it looked in person.

And tucked among the racks was one of the most delightfully niche releases of the day: the Video Game LoFi: Sleepy Pokémon Beats soundtrack. A gentle, dreamy, pastel-coloured slice of nostalgia that had more than a few people smiling as they picked it up.

This was a year where the variety was as impressive as the volume.

As the doors opened and people began filtering in, I spotted a father-and-son duo (Martin & Tom) I’ve seen before, the son had travelled down from London and was heading back on the 09:54 train, bag stuffed with vinyl to keep him company on the journey home. We laughed about the legendary £1000+ transaction from a couple of years back. Would today beat it? Early signs suggested… maybe.

Cakes and muffins were handed out. Bacon rolls and vegan alternatives arrived and disappeared almost instantly. People swapped stories, compared lists, and tried to keep warm.

Emma grabbed me for a quick TikTok live chat about the photo I took of her entering the shop last year. We joked about recreating it, and of course, we did.

Even the late arrivals, the ones who rolled up around 10am, still managed to tick off a surprising number of items. Roger’s stock levels were that good.

Will, who used to run the shop, was there too, as he always is. Helping people find what they were after, catching up with long-time customers, and adding to the sense that Phoenix Sounds isn’t a shop, it’s a community hub with a till. Everyone I spoke to was buzzing. Not in a frantic, competitive way, but in that warm, excited, “I can’t wait to get home and play this” way.

And interestingly, I didn’t spot many flippers this year. Maybe they were hiding. Maybe they stayed home. Or maybe, just maybe, the people who queued through the cold night were genuinely here for the music.

That thought alone made the morning feel even better.

By the time I left just before 10am, the biggest single transaction I’d heard of was just under £700. Whether the mythical £1000 record was broken again… well, I’ll have to check in with Roger once he’s recovered from the day and counted the takings.

The sun came out, the smiles stayed, and the tills kept ringing. Another Record Store Day at Phoenix Sounds — another reminder of why this little shop in Newton Abbot continues to punch far above its weight.

Until next year, folks.

Words and Pics by Steve Muscutt

For more than two decades, Rick McMurray has been the rhythmic engine behind Ash — the heartbeat that powered everything from teenage pop‑punk euphoria to widescreen alt‑rock ambition. But in the rare quiet moments between the band’s relentless touring and the twin releases of Race The Night and Ad Astra, something darker began tugging at him. A voice. A riff. A weight.

That voice has now taken shape as Burned As Witches, McMurray’s first-ever solo project — a self‑titled album landing 17 April on all DSPs and black vinyl. It’s heavy, it’s haunted, and it’s absolutely not the day job.

The first single, Hold Your Nerve, arrives like a warning shot: stoner‑rock adjacent, but sharper, leaner, more melodic than the genre’s usual haze. It’s the sound of someone excavating something uncomfortable from deep within.

“This was one of the last songs written for the album,” McMurray says. “It just tumbled out of my subconscious… It’s about innocence in the face of a corrupt and venal world.”

He talks about red pills, blue pills, and the helplessness of seeing the world clearly when you can’t change it. Musically, he calls it “the bastard child of Iommi and Page” — Sabbath doom with Zeppelin swagger, and a sly undercurrent of glam. It’s a combination that shouldn’t work, but absolutely does.

Burned As Witches didn’t begin as a creative detour. It began as grief.

In 2021, Ash’s long‑time live agent and friend Steve Strange passed away — a larger‑than‑life figure whose love of metal was legendary. McMurray found himself writing riffs in the aftermath, dark and heavy, as if the only way to process the loss was to turn the volume up.

“We thought that gig at The Roundhouse would put the COVID years to bed,” he says. “But it turned into a wake for Strangey.”

The early demos were raw, too raw, and he shelved them — “where solo projects go to die.” But they wouldn’t stay buried. Months later, he listened again and felt something shift. An epiphany: It doesn’t have to be about me.

Whether it was Strange whispering from beyond or McMurray’s own subconscious finally unclenching, the message was clear: the tribute didn’t need to be literal. It just needed to exist.

“Steve, I miss you and love you, you mad bastard. We all do.”

If anyone expects power‑punk‑pop, McMurray is quick to shut that down. Burned As Witches is riff‑driven, big‑boned, doom‑tinged rock — the kind of record that feels carved rather than written. He plays every instrument, every note, every crunching chord. It’s intense, cathartic, and deeply personal.

This isn’t a drummer stepping out front for a vanity project. It’s an artist wrestling with loss, legacy, and the strange places the mind goes when the world stops making sense.

Ash will inevitably roar back into motion — they always do — but Burned As Witches exists in that rarest of things: a pause. A breath. A moment where McMurray could follow the riffs wherever they led, even into the darker corners.

The result is an album that feels like a purge. A tribute. A reckoning, and, unexpectedly, a rebirth.

Burned As Witches arrives 17 April. Hold Your Nerve is out now. Turn it up.

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I arrived at Outertown 2026 full of hope and armed with a fluid, ADHD‑friendly map, the only sensible way to navigate Bristol’s most meandering day festival.

Now in its fifth year, Outertown has grown into something beautifully unruly: a takeover of Old Market that floods pubs, breweries, art spaces and back rooms with independent creativity. Its heart still beats at Trinity Centre, but the festival sprawls outward like a living organism, pulsing with community spirit.

Credit where it’s due, Harry Dodson has curated an event that keeps music exactly where it belongs: in the soul of the city. This is a real festival. If you’re not here to discover something new, you’ve come to the wrong postcode.

The day began at Old Market Assembly with a friendly AF Gang meetup, a room full of Bristol gig‑goers wearing badges like armour and grinning like they’d already won. Tonight’s headliners, Do Nothing, were quietly staking out the venue for soundcheck, though that moment felt a lifetime away. Outertown has a way of stretching time, bending it around alleyways and unexpected sets.

A good festival keeps you moving, and mine nudged me toward Wiper & True for Magnolia, the day’s first discovery and an early jolt of joy. I already loved Five Hundred, but live, Magnolia are something else entirely: controlled chaos delivered with a wink. Two drummers drive the whole thing forward while a sizzling sax slices through the noise, channelling raw pieces of Squid and spitting them back out in six‑minute jazz‑rock concoctions. Their songs stop, start, twist, tease and demand your attention. The crowd connected instantly. Never too early for a loud, kaleidoscopic seven‑piece who play with both passion and precision.

What a start. Don’t sit still.

“If this is living I choose death”, not a bad line to hook you into Adult Leisure. Before long, singer Neil Scott was in the crowd, warming us up nicely for Bureau De Change, a band who blew me away at Weston’s Groove Village and haven’t lost an ounce of bite since.

Outside Trinity, the first proper mosh pit of the day erupted. Bureau De Change make it easy: handcuffs, elbows and earplugs flying in every direction. Their politically correct punk hits all the right targets — the far right, dumb men, Tories, James Bond… basically the same category. “Sometimes you feel like you are falling out of love with music and then you’re at Outertown!!” guitarist Will shouted, and honestly, he wasn’t wrong. They even debuted new material, all of it sounding sharp, furious and full of promise.

At The Ill Repute, an eager crowd gathered outside as if Elvis himself were inside, which, in a way, he was. The venue is drenched in Elvis memorabilia from ceiling to basement. The Slow Country took to the stage one member down but didn’t miss a beat, filling the room with rich, tender folk that justified the queue. A moment of calm in a day that rarely sits still.

Then came the community gardeners, giant papier‑mâché vegetables weaving through the crowd like a fever dream. It felt like the right moment to take stock. Ladylike were the perfect band at the perfect time: ambient, tender, but with enough punch to keep the room awake. Rome In Progress sounded especially sweet, its tempestuous drums and acoustic guitar lifting the mood like a slow exhale.

The world needs artists like Meryl Streek, voices that cut through the noise and speak for the voiceless. Slightly bemused to be performing at the entrance of a microbrewery, MS turned the space into a punk rock foyer. My day of political punk continued, and rightly so. He challenged the system with abrupt, unfiltered honesty, exposing its corruption and inadequacies. Succinct, furious, and impossible to ignore — he’d be welcome at any festival.

TTSSFU were a revelation. Angsty yet hilarious, vulnerable yet explosive, their set was a whirlwind of crowd‑surfing and joyful chaos. Singer Tasmin radiated energy, and the crowd matched it beat for beat. Lacrosse Club’s Cai even jumped on stage to deliver a “hand‑in‑a‑plug‑socket” Ian Curtis dance before leaping over my head like a deranged Crazy Frog. By the end, Tasmin was swallowed by the audience in a moment of pure communal catharsis. Chaotic, heroic, unforgettable.

It felt like weeks since Do Nothing wandered into Old Market Assembly for soundcheck. Time had folded in on itself. But here they were, closing the night with the kind of set that reminds you why you go to festivals like this. Effortlessly catchy indie hooks, razor‑sharp lyrics, and Chris Bailey’s voice sounding crystal clear and completely on form. The room was packed with Bristol’s Do Nothing faithful. Lebron James and The Nerve were sung like classics, every word shouted back with devotion. Even those who didn’t know the lyrics danced like they did. It had to end, and I’m glad it ended like this, a release, a celebration, a shared breath of joy. Pure catharsis.

Words from Matthew Barnes

Pictures from Jamie Macmillan and Matthew Barnes

Frank Turner doesn’t so much enter a room as arrive in it, all warmth, quick wit, and that unmistakable sense of forward motion. Even in a year where most artists would be clinging to the calendar in panic, Turner seems energised. 2026 is stacked: Australia, France, the UK, the US, Lost Evenings IX, and a punk‑rock cruise for good measure. It’s a schedule that would flatten most musicians, but Turner has always been built differently.

Still, he’s the first to admit that the “hardest‑working man in rock and roll” crown sits a little differently these days. “I don’t know. Probably not,” he laughs, immediately crediting his crew for working “as hard as I do, if not slightly harder” . Age, he says, has introduced a new kind of realism. “Everything hurts more than it used to… I have to take more days off,” he admits, before adding with a shrug: “Ultimately, it’s a marathon, not a sprint” .

And yet, the marathon continues — loudly, joyfully, and with Turner’s trademark refusal to slow down more than absolutely necessary.

Australia: Chaos, Camaraderie, and Bowling for Soup

Turner’s first major run of the year is the Bowl My Bones tour with Bowling for Soup, a pairing that feels both chaotic and strangely perfect. The friendship with frontman Jaret Reddick goes back years, beginning in the most modern way possible: “He started… tweeting at me back when anyone cared about Twitter,” Turner recalls, still amused by the memory. “I was like, bloody hell, it’s the guy from Bowling for Soup!”

What followed was a festival‑hopping friendship that solidified during lockdown, when the pair accidentally created a year‑long Instagram Live series. “He asked me on to talk about metal… and we talked for an hour and didn’t talk about metal,” Turner says. “So he said, ‘Come back next week and actually talk about metal,’ and we didn’t talk about it again” .

The fanbases noticed. The chemistry was obvious. And now, in 2026, the two bands are finally sharing a stage.

“We’ve both never been cool,” Turner grins. “And we take pride in that.”

France: Breaking Through the Barriers

June brings a short but significant run in France, a country Turner admits has historically been “quite a tough one… restrictive radio laws, brutal tax raising” that make touring difficult . But last year’s shows with Dropkick Murphys changed something.

“We played some massive shows. Had a really good response,” he says. “So I thought we should follow up on that.”

It’s a strategic stop, a chance to build momentum between two major tour legs, and a reminder that even after two decades, Turner is still expanding his map.

UK Summer: Castles, Chaos, and Coming Home

Late June into early July sees Turner return to home soil with The Sleeping Souls, Bowling for Soup, and American Hi‑Fi, a run that includes a particularly meaningful stop.

“We’re playing outside the Southampton Guildhall, which is basically where I’m from,” he says. “My mum is gonna see Bowling for Soup” .

This UK tour follows a deliberately “underplayed” run of smaller venues, a warm‑up, a teaser, a reminder of the intimacy Turner still craves. “Hopefully by the end of June, start of July, everyone won’t be satisfied,” he jokes. “Get out with the full band… exactly.”

Twenty Years of Campfire Punkrock

If the touring schedule wasn’t enough, 2026 also marks the 20th anniversary of Campfire Punkrock, the scrappy, heartfelt EP that set Turner’s solo career in motion.

“I have a mixture of pride and incredulity,” he says. Looking back at old footage feels surreal: “It feels like somebody else did all of that… it was such a long time ago” .

But the continuity is undeniable. “We’re playing the same towns… seeing some of the same people,” he reflects. “There’s a bunch of people I met because I slept on their floor” .

Would he do that again? “My back would not thank me for it,” he laughs.

If 2026 Frank could advise 2006 Frank, the message is simple: “Stretch! I’m not even joking… I’ve done myself horrible damage over the years”.

Lost Evenings IX: Punk Rock in the Heart of the Beast

This year’s Lost Evenings, Turner’s beloved multi‑day festival, lands in Dallas, a choice that has sparked debate. Turner doesn’t shy away from addressing it.

“There’s been some slightly heated conversation,” he says. But the decision is rooted in activism, community, and solidarity.

The festival has long partnered with The Ally Coalition, whose largest chapter is in Dallas. “They are having a rough time of it right now… and they are fighting back,” Turner explains. “If there is a community who is suffering, then you go to them” .

He bristles at the suggestion that hosting the festival in Texas is a concession to conservative politics. “People say, ‘Why are you doing it in Dallas? They’ve got horrible laws about LGBTQ+.’ It’s like, that’s why we’re going. That’s the whole bloody point” .

The lineup, he adds, is “the best we’ve ever had,” featuring Ben Kweller, Beans on Toast, Trail of Dead (reforming for the festival), The Menzingers, and, in a moment of teenage‑dream fulfilment, The Get Up Kids. “Two records of theirs still define quite a lot of my songwriting,” he says. “Having them on the festival was a huge thing” .

The Salty Dog Cruise: Punk at Sea

As if the year wasn’t surreal enough, Turner will round out 2026 aboard Flogging Molly’s Salty Dog Cruise, his fifth time on the floating punk‑rock micro‑cosm.

“It’s very communitarian… there’s nowhere to hide,” he says. “People get starstruck for about an hour, then everyone goes, ‘Oh yes, it’s fine’” .

There’s a deeper emotional thread this year, too. Flogging Molly’s Dave King, a long‑time friend, has faced significant health struggles. Turner’s optimism is unwavering: “He will be good on the boat. Positive thing to see”.

A Decade in Photos: A Gift, A Moment, A Pause

Before wrapping, Turner is handed a surprise: a physical copy of photographer Glenn Morrison’s new book, ‘Guitars and Drums and Desperate Poetry’ - celebrating ten years of shooting Turner live.

“I have not seen a physical copy yet,” Turner says, visibly moved as he flips through the pages. “It’s full of absolutely sensational shots” .

He lingers on images of younger versions of himself, fewer tattoos, white shirts, the early fire of a career that has since become a global marathon. “Look at young Frank” he murmurs, half amused, half reflective.

If you like the sound of the book, you can purchase your own copy HERE.

The Road Ahead

2026 is shaping up to be a defining year for Frank Turner, geographically, musically and emotionally. But beneath the relentless schedule and the global reach, the core remains unchanged: community, connection, and the punk‑rock belief that music is a place where outsiders gather and build something bigger than themselves.

As Turner puts it: “Punk rock is… an outsider art form. It’s about people who feel disenfranchised finding spaces to gather, to create their own communities. That’s what Lost Evenings has always been” .

Two decades in, he’s still building those spaces — one show, one city, one community at a time.

Interview feature by Steve Muscutt

If you’d like to LISTEN to the interview feature, click play below.

Some bands arrive with a sheen of inevitability, the sense that they’ve already built their own world long before anyone else steps inside it. Die Twice are one of those bands. Emerging from Exeter’s DIY underbelly and now embedded in Brighton’s restless creative scene, the four‑piece have spent the past few years sharpening their sound in real rooms, with real people, until it became something impossible to ignore: cinematic, volatile, and emotionally unguarded.

Their new single Wishbone is the clearest distillation yet of what makes them so compelling. It’s a track that flickers at the edges, never quite settling, built on a stop‑start pulse that feels like it’s trying to outrun its own heartbeat. Delicate pizzicato strings hover like a warning before the whole thing fractures into a towering, full‑body crescendo. Frontman Olly Bayton moves from a soft, almost disbelieving tenor into a gravel‑edged scream that feels ripped from somewhere private.

“So, the old man called me ‘Wishbone’ / he didn’t know it could make me cry” he sings, a line that lands like a bruise. Bayton describes the song as “a vulnerable man screaming at something bigger than himself… a journey through pressure, trying to find acceptance when you’ve been made to feel small” It’s the kind of emotional candour that Die Twice excel at: raw, unvarnished, and delivered without apology.

Wishbone and its predecessor Jakobo both appear on the band’s debut EP Accept Me Like A Lie, out May 27th via FAE. Written during a period of transition and forged in the heat of their increasingly magnetic live shows, the EP unfolds with a deliberate patience. Across five tracks, Die Twice build atmosphere like a slow exhale before erupting into catharsis — a refusal to pander to short attention spans in favour of something richer, more immersive. With production from Ru Lemer (Foals), mixing by Adrian Hall (Depeche Mode, Anna Calvi), and mastering by Nick Watson (Sea Girls, Warpaint), the record threads together intimacy and widescreen ambition.

Formed when Bayton and bassist Finn ‘Blue’ Lloyd met at college, later joined by drummer Jake Coles and guitarist Billy Twamley, the band quickly became a force on Exeter’s live circuit, selling out 500‑cap rooms entirely under their own steam. Their move to Brighton only accelerated things: a five‑night “Mosquito Nights” residency sold out, with support from friends including SAINT CLAIR and 1000 Rabbits, cementing their reputation as a band other artists quietly tip to each other.

Now, Die Twice are bringing that momentum to London with a three‑night residency, MASCARA PARTIES, taking over the Mascara Bar in Stoke Newington on April 24th, May 8th, and May 22nd. Special guests remain under wraps, but the band’s track record suggests these shows will be intimate, chaotic, and unmissable.

Die Twice are in no rush — but they’re also not waiting for permission. Accept Me Like A Lie feels like a defining statement from a band who are vulnerable, ambitious, and entirely themselves. If the world is finally catching up, it’s only because Die Twice have made it impossible not to.

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Record Store Day 2026 is almost here, and once again Newton Abbot’s Phoenix Sounds is preparing for the annual vinyl pilgrimage — a ritual I’ve been covering for musomuso for the past eight years. Every April, the shopfront becomes a gathering place for collectors, crate‑diggers, and the sleep‑deprived faithful, all united by the thrill of the hunt.

Last year set a new local legend: two fans arrived before midnight, camping out through the cold to secure their must‑have titles — the purest expression of RSD devotion. The question now is whether 2026 will break that record. With vinyl sales still booming and this year’s list stacked with exclusives, rarities, and blink‑and‑you’ll‑miss‑them gems, it’s entirely possible someone will push the queue even earlier.

While the headlines will go to Bowie, Blur, Charli XCX, and The Cure, the real magic of RSD lies deeper in the list — in the obscure, the unexpected, the cult treasures waiting quietly in the racks. Below is musomuso’s hand‑picked selection of ten under‑the‑radar releases that deserve your attention. These are the records that won’t make the tabloids but will absolutely make a collector’s year.

1. Addis Rockers – Warriors (Real Rock Records, LP)

Letter: A Who they are: A cult roots reggae outfit whose ’70s recordings are prized by collectors. Why it’s collectible: Real Rock’s reissues are tiny‑run and often disappear forever. Why you should grab it: Reggae collectors will be hunting this like treasure — expect it to vanish early.

2. Beathoven – Live at Pascoe Vale High School 1977 (Grown Up Wrong, LP)

Letter: B Who they are: A raw, obscure Australian proto‑punk band with a tiny recorded legacy. Why it’s collectible: Live ’77 Aussie punk is incredibly scarce. Why you should grab it: Punk collectors will be all over this — a proper rarity.

3. Cabo Verde Show – Caminho De Esperança Coladance 80 (Charly Records, LP)

Letter: C Who they are: A legendary Cape Verdean dance band blending funaná, coladeira, and Afro‑Latin rhythms. Why it’s collectible: Clean Cape Verdean vinyl is notoriously hard to find. Why you should grab it: A global‑crate‑digger favourite — this will not linger.

4. Darkthrone – As Wolves Among Sheep… Live in Oslo (Peaceville, LP)

Letter: D Who they are: Norwegian black‑metal royalty with a fiercely loyal underground following. Why it’s collectible: Live Darkthrone releases are rare and always snapped up instantly. Why you should grab it: Metal collectors queue early for anything Peaceville touches.

5. Eastern Dark – Julie Is A Junkie / Johnny And Dee Dee (Grown Up Wrong, 7”)

Letter: E Who they are: A cult Australian punk/power‑pop band with a tragically short career. Why it’s collectible: Their singles are holy‑grail items for punk collectors. Why you should grab it: A perfect RSD pickup: rare, raw, and guaranteed to sell out.

6. Faith NYC – Love Is A Wish Away (Creation Youth, LP)

Letter: F Who they are: A gritty New York soul‑punk outfit with a lo‑fi, underground aesthetic. Why it’s collectible: Creation Youth pressings are tiny and cult‑driven. Why you should grab it: This is the kind of release that becomes a future “why didn’t I buy that?” regret.

7. Grady Tate – Lady Love / Moondance (Janus, 7”)

Letter: G Who he is: A revered jazz drummer and vocalist whose ’70s output is adored by soul‑jazz collectors. Why it’s collectible: Janus 7” reissues are scarce and often become DJ favourites. Why you should grab it: A perfect slice of soulful, dance‑floor‑friendly jazz.

8. Heliocentrics, The + Marshall Allen + Knoel Scott + Bilal – Nuclear War (Strut, LP)

Letter: H Who they are: A London psych‑jazz collective collaborating with Sun Ra Arkestra legends. Why it’s collectible: Strut’s spiritual‑jazz releases are premium, limited, and highly sought after. Why you should grab it: Sun Ra‑adjacent material always skyrockets in value.

9. I‑Roy – Crisis Time (Charly Records, LP)

Letter: I Who he is: One of Jamaica’s most influential toasters, known for witty, politically sharp delivery. Why it’s collectible: Charly’s reggae reissues are small‑batch and quickly become collector staples. Why you should grab it: A foundational voice in reggae — essential for genre completists.

10. Jah Wobble – The Early Years 1983–1986 (Lantern Records, LP)

Letter: J Who he is: Post‑punk bass icon, PiL alumnus, and experimental dub explorer. Why it’s collectible: Lantern’s archival releases are beautifully curated and limited. Why you should grab it: Early Wobble material is catnip for post‑punk and dub collectors alike.

Record Store Day has always been about more than limited vinyl, it’s about the people who show up, the stories shared in the cold morning air, and the sense of community that forms long before the shutters roll up. Phoenix Sounds has become a kind of annual meeting point for the South Devon music faithful, and 2026 looks set to be no different. Whether you’re chasing a holy‑grail reggae reissue, a lost punk 7”, or something beautifully strange from the outer edges of jazz, this year’s list has more than enough to reward the early risers.

So pack your layers, charge your phone, bring a flask, and get ready for another year of bleary‑eyed excitement on Courtenay Street. I’ll be there as always, capturing the atmosphere, the anticipation, and the inevitable “did you get it?” conversations as the doors finally open.

See you in the queue.

Please remember that the shop has moved to its new location 2-4 East St, Newton Abbot TQ12 1AF

The Damned have never really been an arena band. Half the time, they’re barely a band at all — more a loose collective of misfits glued together by a shared love of noise, chaos, and the sheer joy of doing whatever the hell they want. Their shows often feel like they’re teetering on the brink of collapse, as if they’re making it all up on the spot.

And yet, somehow, it always works.

So on Saturday 11th April, around 22,000 mostly ageing music fans shuffled — carefully, and often with medical aids — into the “concrete shithole” (Captain’s words) that is Wembley Arena. They came for a celebration of 50 years of The Damned, and they got exactly that: noise, nostalgia, and a night that belonged entirely to them.

The evening opened with three support acts, each with their own connection to The Damned’s legacy. While more people may know Tainted Love, Love Will Tear Us Apart, or Blue Monday than Smash It Up, this was unmistakably The Damned’s night — and the guests felt like part of the family.

The Courettes

The Courettes kicked things off with a blast of White Stripes‑esque, 60s‑tinged garage‑punk. For a two‑piece — and an actual married couple, Flávia and Martin Couri — they made an impressive amount of noise. Rat Scabies clearly approves: he was spotted behind the sound desk, enjoying their set, which even included a cover of Robyn’s Dancing On My Own. On a bill full of established names, they held their own with ease.

Peter Hook & The Light

Next came Peter Hook & The Light, trading in the unmistakable sound of Joy Division. Hooky may now resemble a Harley‑riding car mechanic, but those iconic basslines remain untouchable, and they were all present tonight. With a second bassist carrying much of the rhythmic weight while Hook took on vocals, the set felt tight, warm, and full of affection. Hook shared a story about hearing punk on the radio, heading to his local record shop, and being handed New Rose. A perfect full‑circle moment.

Marc Almond

Marc Almond might seem an outlier on a rock‑heavy lineup, but Soft Cell were always alternative at heart. Backed by The Loveless, he delivered a glam‑soaked mix of originals and covers, his voice still as strong and otherworldly as ever. He seemed genuinely thrilled to be part of The Damned’s 50th anniversary — and very much a fan.

The lights dropped. Excitement surged. A revolving “Damned Pictures” B‑movie logo filled the giant screen, followed by an AI‑styled narrator with an RP accent — the kind who used to introduce grainy black‑and‑white horror films promising to “make your blood run cold.”

As he repeated “The Damned, The Damned, The Damned” and vanished cackling, the band strode onstage and launched straight into Street of Dreams from 1985’s Phantasmagoria.

What followed was a run of 11 tracks from the band’s more melodic, bouncy catalogue — less of the furious punk, more of the gothic, theatrical, and eccentric corners of their discography. They closed the first half with Smash It Up parts 1 & 2 before surprising the crowd by walking off.

“We’ll be back in 10 minutes,” came the half‑apology. With two members now over 70 — and an audience not far behind — nobody begrudged them a breather. It probably satisfied HSE regulations too.

The break began with the iconic Pearl & Dean theme — “Ba‑ba‑ba‑ba‑ba‑ba‑ba…” — before descending into a glorious montage of naff old adverts. Henry Cooper in a bath. Joan Collins spilling her drink. A model seductively fellating a Flake and Benny Hill being… Benny Hill.

Then came The Young Ones, with the band’s appearance on the show segueing perfectly into Nasty, which they performed as the clip played behind them.

With Captain and Dave returning in fresh outfits, the second half ramped up the pace. Love Song, Second Time Around, a brief breather for Fan Club, then straight into Ignite with an extended audience sing‑along. Disco Man — a fan favourite and the third non‑album track of the night — proved once again that The Damned have never cared about doing things the traditional way.

Neat Neat Neat followed, then a shortened Curtain Call, which morphed into a drum solo that became the intro to New Rose.

And then… goodbye. They’ve said it before, but this one felt different. Playing New Rose — their DIY debut single — to what was presumably their biggest headline crowd in 50 years carried real emotional weight. You could feel it in the room.

If this is the last time this lineup plays London, they went out in style. They filled that soulless arena with love, memories, and mischief. As Captain put it: “It may be a concrete shithole, but tonight it’s OUR concrete shithole.”

They may be underachieving misfits, but they’re our underachieving misfits. And they’re not dead yet.

Words and Pictures by Rich Dunn.

Setlist

Set 1:

1. Street of Dreams

2. Wait for the Blackout

3. The History of the World (Part 1)

4. Dr. Jekyll and Mr. Hyde

5. Stranger on the Town

6. Under the Floor Again

7. Eloise - (Barry Ryan cover)

8. Wake the Dead

9. I Just Can't Be Happy Today

10. Life Goes On

11. Is It a Dream

12. Smash It Up (Part 1)

13. Smash It Up (Part 2)

    Set 2:

14. Nasty

15. Love Song

16. Machine Gun Etiquette

17. Fan Club

18. Disco Man

19. Ignite

20. Neat Neat Neat

21. Curtain Call

22. Drum Solo (Rat Scabies)

23. New Rose

With zero announcements or teasers from the band, Enter Shikari have today surprise released their brand-new album! Lose Your Self (released via So Recordings) spans 12 tracks exploring themes of desolation, futility and complete despair at the state of the world, but with glimmers of hopefulness and optimism threaded throughout. Whilst the likes of major pop stars including Beyoncé, Taylor Swift and Justin Bieber who have famously released albums out of the blue over the years, Enter Shikari have managed to not only release Lose Your Self digitally, but also physically, unlike their predecessors. As of right now (from midnight on Friday 10th April), this accomplished and ingenious body of work is available to stream and also buy in CD and vinyl format worldwide.

LISTEN HERE

Frontman Rou articulates, "We’re delighted to present LOSE YOUR SELF, and give people the chance to hear a Shikari record like never before - as a cohesive whole. We want people to go on a proper journey with this album, and see where it takes them. No lead up, no singles, and no explanation. Forcing the listener to actually listen, without being drip-fed ideas out of context, or spoon-fed explanations. We simply present it all, for the listener to immerse themselves in. Releasing in this way was also a decision to not be distracted by chart races, or accolades and “things”. We got the No.1 album on our last record. This is simply about the music being presented in a natural way. Despite turning out to be one our darkest and heaviest albums to date, it also preaches hope and offers answers. Shikari will always offer hope, because without hope there is no action. We’ll just always offer it with a dose of realism.”

Alongside this revelationary release, the band have also announced a run of intimate album release shows! Shikari will play The Cavern in Liverpool on 23rd April, The Fighting Cocks in Kingston on 24th April and Signature Brew in London on 25th April. These unmissable shows give fans a unique experience to see the band up close and personal, and a chance to see the brand new songs live for the first time. Tickets for these shows go on sale on 15th April - follow this link for details on timings for each show.

Earlier this year, Enter Shikari announced a UK and EU headline arena tour for November, their biggest yet, a headline run around Australia in May, and also around North America in June! The EU dates kick off on 3rd November at the Sporthalle in Hamburg, and include the band’s biggest ever German headline show, at Düsseldorf’s Mitsubishi Halle, boasting a capacity of 7500! The band will then begin the UK leg of the tour in Nottingham at the Motorpoint Arena on 13th November. Gigs in cities including Cardiff, Hull, Glasgow and Manchester will follow, before ending with not one but two shows at London’s Alexandra Palace on 20th and 21st November! They will be joined by Holding Absence and The Callous Daoboys as support for both the EU and UK leg. All dates, information and tickets for all live dates can be found here.

Every ticket sold for the band’s UK arena tour dates will include a £1 donation to the Music Venue Trust, supporting grassroots music venues under threat of closure in the UK. Enter Shikari were the first artist to implement the scheme which is one very close to their hearts, with ticket sales from their 2024 arena tour carrying the donation, paving the way for the likes of Sam Fender and Coldplay to follow suit with their own generous donations.

The highly-anticipated November tour is the band’s first arena tour since their A Kiss For The Whole World tour in 2024, celebrating their album of the same name landing them their first ever UK No.1 album in the Official Charts, where they had previously scored 6 Top 10 albums! The 2024 tour included their raucous debut Wembley Arena show. The four-piece last year released Live At Wembley, the triumphant live show recorded in full available on streaming services, and on a limited run of vinyl available at only four record stores worldwide. You can also watch the full show here, which features footage from the first FPV (first-person view) drone to be flown live at Wembley Arena!

During their remarkable and celebrated career, Enter Shikari have received several accolades in the form of gongs from NME, Kerrang!, Rock Sound, Heavy Music Awards and more. They have played a whopping 3000+ live shows around the world including three headline arena tours in the UK, supported the likes of The Prodigy and Linkin Park and played festivals such as Glastonbury, Reading & Leeds, Download and Slam Dunk where they also headlined in 2023.

UK & Ireland live dates:

21.4 - The Academy, Dublin - SOLD OUT

23.4 - The Cavern, Liverpool (Jacaranda outstore)*

24.4 - The Fighting Cocks, Kingston (Banquet outstore)*

25.4 - Signature Brew, London (Jacaranda outstore)*

13.11 - Motorpoint Arena, Nottingham

14.11 - Utilita Arena, Cardiff

15.11 - Connexin Live, Hull

18.11 - Hydro, Glasgow

19.11 - CoOp Live, Manchester

20.11 - Alexandra Palace, London

21.11 - Alexandra Palace, London

*On sale Wednesday 15th April (More details here)

Follow Enter Shikari here:
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Spotify
YouTube

IST IST’s rise has been steady, self‑driven and unmistakably theirs. Two months after releasing their fifth studio album Dagger — a record that topped the Independent Albums Chart and reached No.21 in the Official UK Album Chart — the Manchester band are fresh back from a European run of dates (supported by a slew of bands including KANADIA) and are busy getting match fit for their biggest UK tour yet.

I sat down with Mat Peters (keyboards and guitars) to talk about the album’s reception, the band’s evolving sound, and why Dagger represents a sharpened, more deliberate version of who IST IST have become.

How do you feel Dagger has been received by fans so far?

“It’s been received incredibly well,” Mat says, without hesitation. “What’s interesting is how much it seems to connect back to Architecture, our 2020 released debut. Being out in Europe for three weeks, you really start to see how people respond, what records they’re buying at the merch desk, what songs they’re shouting for.”

He describes Dagger as a record that “ties a lot of our discography together,” blending the aggression of their early work with the melodic confidence they’ve developed over the years. “It’s got the synths, the guitars, the big drums, the big bass, Adam’s voice, it feels like the best of everything we do.

Your 2024 European tour fed straight into writing Dagger. How did the live experience shape the studio process?

“The live show is naturally more rock’n’roll,” Mat explains. “More guitars, more interplay between the four of us. We wanted to bring some of that energy into the next record.”

But the shift wasn’t just about volume or tempo, it was also a reaction to their previous album, Light a Bigger Fire, their first with producer Joe Cross. “That album was a learning curve. We wanted something more commercial, more radio‑friendly. It did grow us, but it didn’t necessarily get the radio play we thought it might.”

Ironically, Dagger, the album they made for themselves, ended up receiving far more radio support. “Sometimes when you chase a specific outcome, you don’t get it. But you learn something else instead.”

What did Joe Cross bring to the album this time around?

Mat describes a producer who is both meticulous and deeply collaborative. “We give Joe our demos, all split out, and he starts reshaping things, chopping, restructuring, replacing parts, tightening melodies. There’s about four weeks of pre‑production before we even start recording.”

With Light a Bigger Fire, the band were still figuring out how to work with a producer. “We didn’t know what the relationship should look like. This time, we understood his instincts. We pre‑empted a lot of the changes he’d make, so the songs arrived in better shape.”

Still, some tracks were a battle. “Ambition was like pulling teeth. It took two hours just to realise it was too slow. Then we had to redo everything. But it became one of our favourites. That’s the process, you suffer through it, then suddenly it clicks.”

Andy mentioned wanting to make braver, more brash choices. Did you take any risks on Dagger?

“Definitely,” Mat says. “I Am the Fear is the clearest example. It was different from the outset, more industrial, more distorted, more Nine Inch Nails‑leaning. We just leaned into it.”

He says the band made a conscious decision not to second‑guess how fans might react. “You can’t worry about whether people think it’s too synthy or too dancey. If it excites us, the four of us plus Joe, then chances are it’ll excite everyone else.”

How important was the running order of the album?

“Hugely important,” Mat says. “We treat it like a setlist. Once we’ve got four or five songs we’re happy with, we start thinking about what the album still needs, not a formula, but a sense of balance.”

Vinyl thinking plays a big role. “We absolutely think in terms of Side A and Side B. That’s why Encouragement opens Side B, it’s a slow build, like an encore opener. You wouldn’t put it in the middle of Side A, the same way you wouldn’t drop it in the middle of a set.”

The artwork for Dagger is striking. Was there concern it might be interpreted as promoting knife crime or self‑harm?

The cover, a hand gently holding a floating dagger, was created in true IST IST fashion: DIY, resourceful, and rooted in their own world.

“Andy bought a real dagger online, a very sharp one, and we shot it in his living room with Nige, our tour photographer. The hand is Andy’s wife’s. The dagger was hanging from fishing wire.”

They did consider how it might be perceived. “We asked a lot of industry people — retail, streaming, label contacts, and everyone said it wasn’t an issue. And it’s a dagger, not a knife.”

For Mat, the symbolism is personal. “It’s being held gently, and it’s pointing back at the person holding it. To me, it’s about how you can mess everything up at any moment. And the double‑edged blade reflects the music, upbeat but dark, danceable but heavy.”

He even got a dagger tattooed on his arm the day after the album came out.

Tracks like I Am the Fear, Warning Signs and The Echo feel built for big rooms. Were you thinking about venues like Manchester’s Albert Hall while writing?

“A hundred percent,” Mat says. “You want songs big enough to fill the rooms you’re playing. The venues influence the songwriting, even subconsciously.”

He references David Byrne’s How Music Works, which explores how bands naturally evolve as their performance spaces grow. “It makes sense, the bigger the rooms, the more anthemic the music becomes. We’re not going to write an acoustic album right now. How would it fit in the set?”

You’ve called Dagger your most direct album since Architecture. What does ‘direct’ mean to you now?

“It’s black and white. It’s got bangers. It’s called Dagger,” he laughs.

But there’s more to it. “It’s about simplifying the image and the sound. There’s still texture, but the overall identity is clearer. Andy did a brilliant job with the artwork and packaging — it all feels cohesive. It looks like it sounds.”

IST IST remain fully independent. How does the DIY ethic shape your decisions and pressures?

“It gives us freedom, total control. But there’s pressure too, because there’s no safety net. Then again, there wouldn’t be with a label either.”

Mat has seen too many bands trapped in debt. “I’d rather be in control. But letting go of tasks is hard. We used to do everything ourselves, merch, logistics, distribution. Now we outsource some things, we have a tour manager. Ultimately, we want to be musicians, not full‑time admin staff.”

Would they ever sign? “Never say never, but it would have to be a really good deal.”

You’ve just finished a three week tour of Europe. How has the international energy fed into your creativity?

Europe has become a major part of IST IST’s story. “We’ve played a lot of 1,000‑cap venues in Germany and the Netherlands. That’s not the UK experience outside Manchester. It gives us financial stability and experience playing bigger rooms.”

The crowds vary dramatically. “Germans love the dark‑wave, four‑on‑the‑floor stuff. The Dutch are more reserved. Italians are completely different again. And the venues, especially in the Netherlands, are incredible. Small towns with 900‑cap rooms that put UK venues to shame.”

Which new songs are you most excited to unleash on the forthcoming UK tour?

“Encouragement is the big one. It was written to be a drawn‑out live moment. Burning too, it’s rockier and always lands well.”

The UK shows feel special. “Some fans have been with us since day one. Europe has grown fast in the last four years, but the UK is home. This is our biggest UK tour ever.”

Where does Dagger sit in the story of IST IST — and what comes next?

“It feels like the best of everything we’ve done. A cohesive record with a strong identity.”

As for album six? “We’ve got loads of songs parked in a folder. After tour we’ll start playing through ideas, see what sticks. We’re enjoying the Dagger phase, maybe we won’t rush the next one.”

Finally — Rich D (my Sonic Nomads sidekick) wants to know: what’s your favourite cheese?

Mat doesn’t miss a beat. “Creamy Blue, basically a mouldy brie with blue in the middle. On a cracker. With onion chutney. If that’s not available, brie and stilton together will do.”

I thanked Mat for sparing the time to chat, wished him all the best for the forthcoming UK tour which culminates in a show at Manchester’s Albert Hall and suggested he take a nice break once it comes to an end, put his feet up, reflect on the last couple of months and what they have achieved and how their music has helped to shape the listening habits of so many fans in the UK and beyond. We’ll be at the Exeter show on Saturday 11th April, I suggest you check the dates below and grab some tickets for the show nearest you as this is a chapter of IST IST’s career that you DON’T want to miss!

UK HEADLINE SHOWS

Norwich - Waterfront - 09.04.26 

London - The Garage - 10.04.26 

Exeter - Phoenix - 11.04.26 

Oxford - O2 Academy 2 - 12.04.26

Newcastle - The Grove - 16.04.26 

Glasgow - Oran Mor - 17.04.26 

Sheffield - Network - 18.04.26 

Nottingham - Rescue Rooms - 23.04.26 

Bristol - Thekla - 24.04.26

Brighton - Quarters - 25.04.26 

Dublin - The Grand Social - 28.04.26

Belfast - Ulster Sports Club - 29.04.26 

Manchester - Albert Hall - 01.05.26

(w/ Support from DESPERATE JOURNALIST + THE YOUTH PLAY)

Tickets for all shows on sale HERE

Interview by Steve Muscutt

Every so often a debut single arrives that feels oddly familiar, not because you’ve heard the artist before, but because something in it brushes up against your own memories. Bella Cutts’ Run Like a Child is one of those rare ones. It’s gentle and reflective, quietly courageous, and it doesn’t try to dazzle you. It simply opens the door and lets you step inside.

Cutts is based in Devon now, but her story stretches far beyond the South West. Born in Switzerland and raised across Sudan, Myanmar, Turkey and France, she’s carried a patchwork of places with her. You can hear that in her writing: a sense of movement, of watching the world shift and learning to stay soft in the middle of it.

The press release mentions her first “notable performance” at eight years old, playing an original piano piece in a Yangon hotel. It’s a lovely detail, partly because you can picture it so clearly, but also because it hints at who she is. There’s a quiet boldness running through her work, a mix of tenderness and mischief that makes her lyrics feel lived‑in rather than polished.

Run Like a Child was written during a difficult year, and the verses carry that weight. But the song never sinks into heaviness. Instead, it feels like someone slowly remembering themselves. Cutts spent months revisiting old childhood footage from her years abroad, and that rediscovery, the curiosity, the unfiltered joy, sits right at the centre of the track. It’s nostalgic without drifting into sentimentality, hopeful without pretending everything’s perfect.

She co‑wrote the song with Ed Harcourt in his slightly eccentric Oxfordshire studio, which makes perfect sense; the track has that soft, dreamlike shimmer he’s so good at coaxing out. Producer Shane Shanahan later shaped it into something warm and uncluttered, giving her voice the space it needs.

Live, she performs as a duo with guitarist James Davies, and there’s already a quiet buzz forming around their shows. She doesn’t rely on theatrics, just presence, and Run Like a Child feels like the song that will anchor her sets as the year unfolds.

As debuts go, this one doesn’t shout for attention. It doesn’t have to. It simply offers a glimpse into Bella Cutts’ world and leaves you wanting to see where she goes next.

Listen to Run Like a Child from 1st May 2026 when it is unveiled in all its glory.

There’s a particular electricity that crackles whenever someone from the Ramones universe steps back up to the mic. Not nostalgia — something sharper, more alive. That’s exactly the energy powering CJ SAYS, a brand‑new podcast launching April 23rd and helmed by none other than CJ Ramone himself.

For seven years — from 1989 until the band’s final bow in 1996 — CJ wasn’t just the new kid on bass. He was part of the engine room, playing shoulder‑to‑shoulder with Joey and Johnny during the Ramones’ most relentless touring era. Now, decades later, he’s ready to open the door to that world again… this time with the stories, scars, and hindsight to match.

CJ SAYS promises something rare: a guided tour through the Ramones’ history from someone who lived it at full volume. Each episode digs into a different album, but this isn’t a dry track‑by‑track dissection. Think dressing‑room confessions, airport chaos, songwriting breakthroughs, and the kind of road‑worn anecdotes only a band like the Ramones could generate.

CJ isn’t doing it alone. Joining him is long‑time broadcaster and former Kerrang! Radio voice Matt Stocks — a podcaster with a knack for pulling the good stories out of people. Together, they’re shaping a show that feels part oral history, part backstage hangout.

Expect a revolving cast of guests from music, film, and TV, each bringing their own angle on the Ramones’ legacy. But the real gold lies in CJ’s own memories: the late‑night drives, the studio sessions, the unfiltered moments that never made it into documentaries or biographies.

This isn’t myth‑making, think of it more as myth‑unpacking — told by someone who helped write the final chapters.

“This is something that I have wanted to do for a long time,” CJ says, and you can hear the grin behind the words. Teaming up with Stocks — “a true renaissance man and a legend,” as CJ puts it — gave him the final push. “We’re going to do a deep dive into everything Ramones on this podcast. So, get on board and hoist the anchor as we sail into the legend of thee greatest punk rock band of all time!”

It’s classic CJ: heartfelt, a little theatrical, and full of the spirit that made him such a natural fit for the band in the first place.

The Ramones’ influence has only grown since their retirement. Punk, pop‑punk, garage rock, indie — their fingerprints are everywhere. But the band’s final years remain the least documented and most misunderstood. CJ SAYS arrives as a chance to fill in those gaps, to hear the human stories behind the leather jackets, and to reconnect with a band whose simplicity masked a surprisingly complex world.

For long‑time fans, it’s a treasure trove. For younger listeners discovering the Ramones through playlists and patches, it’s a gateway into the real thing.

CJ SAYS launches April 23rd across all major podcast platforms. Whether you’re a lifer, a casual fan, or someone who just loves a good behind‑the‑scenes yarn, this one’s worth tuning into.

Julia Wolf has never been an artist who moves quietly. From the moment her RIAA Gold‑certified single In My Room began its slow‑burn takeover of streaming platforms, it was clear she was building toward something bigger — something that demanded a room full of people singing her words back at her. This autumn, she finally gets that moment.

Wolf has announced the “Deep End World Tour,” a huge headline run spanning 33 dates across North America, the UK, and Europe, marking her most ambitious touring chapter yet. It’s a victory lap, a re‑introduction, and a promise of what’s coming next.

“I’m so excited to finally be able to come back to North America, the UK, and Europe to do my own headline tour!” Wolf shared. “I can’t wait to have a room full of people singing my songs and to play some new ones for everyone as well!”

Named one of The New York Times’ “9 Artists to Watch” in 2026, Wolf is riding a wave that shows no signs of slowing. In My Room continues to climb the Billboard Hot 100 and is making noise at Alternative Radio, while also dominating multiple ‘Top Songs’ and ‘Viral’ charts with over a million daily streams. It’s the kind of momentum that turns a rising artist into a household name.

Her critically praised album PRESSURE (released last May via AWAL) cemented her as a voice capable of threading vulnerability, swagger, and razor‑sharp pop instincts. Add in her Billboard Hot 100 debut via Drake’s “DOG HOUSE” and her recent feature on Yeat’s “My Way,” and Wolf is now firmly woven into the fabric of contemporary rap‑pop culture.

Before the tour kicks off, she’ll hit a run of major summer festivals — including Lollapalooza, Hinterland, Reading, and Leeds — giving fans an early taste of the energy she’s about to unleash on the road.

Festival Appearances

July 31 – Lollapalooza – Chicago, IL*

August 01 – Hinterland Music Festival – Saint Charles, IA*

August 28 – Leeds Festival – Leeds, UK*

August 30 – Reading Festival – Reading, UK*

September 10 – Forever Twilight in Forks Festival – Forks, WA*

North America

September 17 – Mohawk – Austin, TX

September 18 – The Bomb Factory – Dallas, TX

September 19 – Warehouse Live – Houston, TX

September 21 – House of Blues – Orlando, FL

September 23 – Masquerade (Heaven) – Atlanta, GA

September 25 – The Underground – Charlotte, NC

September 26 – Eastside Bowl – Nashville, TN

September 28 – 9:30 Club – Washington, DC

September 30 – Union Transfer – Philadelphia, PA

October 02 – Irving Plaza – New York, NY

October 05 – Paradise Rock Club – Boston, MA

October 07 – The Opera House – Toronto, ON

October 09 – Newport Music Hall – Columbus, OH

October 10 – The Roxy at Mahall's – Cleveland, OH

October 12 – Elevation – Grand Rapids, MI

October 13 – Hi‑Fi Annex – Indianapolis, IN

October 16 – Summit – Denver, CO

October 17 – The Depot – Salt Lake City, UT

October 20 – Wonder Ballroom – Portland, OR

October 21 – The Showbox – Seattle, WA

October 23 – Great American Music Hall – San Francisco, CA

October 25 – Fonda Theatre – Los Angeles, CA

UK & Europe

November 17 – Button Factory – Dublin, IE

November 19 – Garage – Glasgow, UK

November 20 – Stylus – Leeds, UK

November 22 – O2 Institute 2 – Birmingham, UK

November 23 – Academy 2 – Manchester, UK

November 25 – KOKO – London, UK

\November 28 – Luxor – Cologne, DE

November 30 – La Maroquinerie – Paris, FR

December 01 – Tolhuistuin – Amsterdam, NL

December 02 – Botanique – Brussels, BE

December 04 – Hole 44 – Berlin, DE

9/17 – 10/25: with support from Bee Blackwell

11/17 – 12/4: with support from Scro

For an artist whose songwriting often explores the tension between self‑doubt and self‑assertion, the “Deep End World Tour” feels symbolic — a plunge into a new level of visibility, confidence, and creative control. With Bee Blackwell joining the North American leg and longtime collaborator Scro opening the UK and European shows, the tour also doubles as a celebration of Wolf’s creative community.

Tickets go on pre‑sale April 8th at 10am local, with general on‑sale April 10th at 10am local via girlsinpurgatory.com

CONNECT WITH JULIA WOLF:

Website | Instagram | TikTok | X | YouTube

Dermot Kennedy has always written like someone carrying the weight of the world in his chest — but on The Weight of the Woods, that weight finally feels shared. Released this week via Island Records, his third album is a return to the source: the land, the folklore, the quiet corners of rural Ireland that shaped him long before the stadiums and streaming numbers did.

It’s a record rooted in place. Not metaphorically — literally. Most of it was written and recorded just down the road from his home, with a forest at his back and longtime collaborator Gabe Simon at his side. You can hear that grounding everywhere: in the grain of his voice, in the stripped‑back arrangements, in the way the songs breathe. Kennedy calls the woods behind his house “a haven for my sense of wonder,” and the album feels like an invitation into that sanctuary.

WATCH THE NEW VISUALISER FOR “TURNSTILE” HERE

There’s a renewed confidence here too. After years of global touring, chart‑topping success, and the kind of acclaim that could easily push an artist toward maximalism, Kennedy has instead peeled everything back. “If I get up in a pub with just a guitar or a piano, I’m certain that I can sing to a room full of people,” he says — and that instinct guides the entire record. The result is a blend of folk textures, country warmth, and melodies that soar without ever losing their intimacy.

And now he’s taking that clarity, that sense of home, on the road.

May and June 2026 mark the biggest headline tour of Dermot Kennedy’s career. It’s a run that stretches across Europe before landing in the UK for six arena shows, culminating in a triumphant return to London’s O2 on June 5th. Then, in July, he steps onto the turf of Dublin’s Aviva Stadium for two massive hometown shows — the kind of full‑circle moment most artists only dream of.

These dates will be the first chance for fans to hear The Weight of the Woods in the wild, songs born in solitude, now amplified by thousands of voices.

UK HEADLINE TOUR 2026

29 May – Glasgow, OVO Hydro

30 May – Manchester, AO Arena

1 Jun – Cardiff, Utilita Arena

2 Jun – Leeds, First Direct Arena

4 Jun – Birmingham, Utilita Arena

5 Jun – London, The O2

Tickets available HERE

Kennedy’s rise has been extraordinary — from busking on Irish streets to sharing stages with Niall Horan, Noah Kahan, Zach Bryan, and even performing at Notre Dame Stadium. His songs have travelled far, but his compass has never shifted. That’s clearer than ever in MISNEACH, the new global festival he curated this year, spotlighting Irish artistry from The Frames to Kneecap to Ye Vagabonds. It sold out in both Sydney and Boston, proving that Irish music — and Kennedy’s vision for it — resonates worldwide.

The Weight of the Woods is less of a new chapter and more of a recalibration. A reminder that even at arena scale, Dermot Kennedy is still writing from the same place he always has: heart first, voice forward, rooted in the land that raised him.

For fans, this tour is more than a chance to hear new songs, it’s a chance to witness an artist stepping into his most authentic form yet — grounded, assured, and carrying the woods with him wherever he goes.

The Meffs have carved their path the hard way — DIY releases, zero industry backing, and a stubborn refusal to soften their edges. Now, with UK radio finally paying attention, a rapidly growing hometown festival, and their angriest album yet on the horizon, the duo are stepping into a new chapter without losing the fire that got them here. In this candid conversation, Lily and Lewis talk streaming pennies, punk politics, touring chaos, and why Business might be their most urgent work to date.

Q: Your new song feels personal, but also universal. What does it mean to you?

A (Lily): It’s both. It’s personal to us, but it also sums up how a lot of bands in our position feel. It’s about everything that came before now — how things change. UK radio didn’t want to know us for years, and suddenly they do a bit.

If you don’t fit whatever mould the industry wants at that moment, you’re not part of the gang. That’s where we’ve sat for most of our time in The Meffs. We’ve always done everything ourselves — no PR, no marketing — until now.

So yeah, it’s personal, but it represents a lot of people doing what we’re doing.

Q: Radio often references punk’s past — The Clash, etc. — but doesn’t always make space for current punk bands.

A (Lily): Idles are a great example of a band who broke through, but they’d been writing great songs for years before anyone picked them up. It wasn’t sudden.

You just have to keep going — if you can. Not every band can keep going long enough to get that support.

Q: It makes you wonder who actually gets paid in the music industry.

A (Lily): Exactly. Some corporations are making a lot, while we’re getting £0.003 per stream. They’ve got plenty of money — we definitely don’t.

MEFF FEST

Q: Meff Fest is coming up — excited?

A (Lewis): Yeah! It’s only our third one, and it’s grown fast. We went from a 180‑cap room to 600 last year, and now we’re in the big hall — 1,000 capacity. I don’t think any local band has done that here. We’ve got charity stalls, loads going on, and a lineup we’re really proud of (Lily): We’ve got Crass, UK Subs — my favourites.

Q: I was surprised to see The Subways on a punk lineup.

A (Lily): We toured with them, but even before that we recorded with Billy years ago. Just a couple of tracks, but we stayed in touch. They’re lovely people.

Q: Tickets seem really affordable.

A (Lily): That was the point. We didn’t want to charge £50 — loads of people wouldn’t be able to afford it. It’s our hometown; it should be accessible.

£25 covers costs and gets the bands here. We’ve even got fans flying in from Germany — friends we’ve made on tour.

If everyone has a good day, that’s what music is about.

STIFF LITTLE FINGERS

Q: What’s your history with Stiff Little Fingers?

A (Lily): We played two shows with them — one of them was the Sex Pistols show in Berlin. They saw us play and spoke to us afterwards. They said, “We already have a support band, which is a shame, because we’d love you to do it.”

We were gutted. Then we got the call later — they wanted us. We said yes immediately.

Q: Have you ever had to give something up because of a clash?

A (Lewis): Yeah — one of the Stiff Little Fingers shows. We’d had a mad week, loads of travel in and out of Europe. We drove back from the Czech Republic the day before the Norwich show.

The next day was Cardiff, but we had to get back to Hamburg. It was impossible. We were about five hours short of making it work.

TOURING & SONGWRITING

Q: Where were you coming from last night?

A (Lewis): We had a day off yesterday, but before that we played two nights at the Barrowlands in Glasgow. They’ve played there for about 15 years straight — it was our first time.

Q: You mentioned the song “Fight.” What’s the story there?

A (Lily): It’s one of the big ones in the set. It’s chaotic — in a good way.

A (Interviewer): Which song should I worry about my knees for?

A (Lily): That one.

LOVE SONGS

Q: Would you ever write a love song?

A (Lily): The Beatles wrote all the love songs — no one else needs to!

There are loads of great love songs already, but I don’t feel like I have anything to add. There are other things I want to say, things that need airtime.

If you’re in love, great — you’re sorted.

Business is probably the closest we’ll get to a love song… and it’s a love song to the music industry, which says it all.

SUPPORT SLOTS

Q: You’ve supported loads of bands now. Do you feel relaxed going into support slots, or do you still feel like you need to win the crowd over?

A (Lily): We always go in wanting to win the crowd.

A (Lewis) Always.

A (Lily): At your own headline show you can be cheekier, push the crowd more. With a support slot you have to respect the headliner’s audience.

A (Lewis): Like when we supported NOFX — perfect crowd for us. Total chaos.

A (Lily): They like confidence.

A (Lewis): Stiff Little Fingers fans are different, but we’ve done really well on this tour.

THE NEW ALBUM

Q: Let’s talk about the new album before we run out of time.

A: It’s called Business and it’s out in September. The idea behind it is that “business” is everything — all‑consuming. It covers daily life, politics, the world basically destroying itself. It’s about not feeling great, about frustration, about everything happening around us.

Q: Sounds heavy.

A (Lily) : It is.

A (Lewis) : Probably our angriest record.

A (Lily) : But we wouldn’t have written it if we didn’t still have hope. That’s important.

Q: Were the songs written gradually since the last album?

A (Lily) : Yeah, over about a year. I jot riffs on my phone or voice‑note ideas while driving. It builds up slowly. I try to make sure the lyrics and riffs work together. We’ve had times where we loved a riff but the lyrics just wouldn’t sit right.

Q: Do you write on tour?

A (Lily) No. When we’re touring an album, I consciously switch off. Even if something comes to mind, I don’t write it down.

Q: Really?

A (Lily) Yeah. Otherwise everything would end up sounding like the last record. Having a break keeps things fresh.

After years of pushing forward on their own terms, The Meffs are hitting a moment that feels both earned and inevitable. Their new record channels frustration, hope, and the world’s noise into something sharp and necessary, while Meff Fest and a run of heavyweight support slots show just how far their DIY spirit has carried them. If Business marks the next phase, it’s clear they’re entering it louder, bolder, and more determined than ever.

Interview by Matt Barnes

There’s a particular kind of band whose sound feels less like a collection of songs and more like a weather system rolling in. South West psych‑gaze quartet COSM have been quietly building that reputation over the past few years — and this spring, they’re taking it on the road for their ‘Black Holes’ UK Tour, celebrating the release of their shimmering new single Black Holes.

The timing couldn’t be better. With a slot already locked in for Boardmasters Festival 2026, COSM are stepping into a new chapter, one defined by bigger ideas, deeper textures and a confidence that radiates through every second of the new track.

Black Holes is the band’s first release of the year, and it lands like a statement of intent. COSM have always excelled at atmosphere — their self‑titled debut EP introduced a band fluent in haze, harmony and emotional weight — but this new single pushes everything further outward.

Shimmering guitars ripple like heatwaves, vocals drift in dream‑pop spirals, and the whole track feels suspended between nostalgia and something boldly future‑facing. It’s cathartic, widescreen, and unmistakably COSM.

If the single hints at expansion, the live shows promise full immersion. COSM’s gigs have become known for their blend of Fuzzy, psychedelic guitar riffs, Sparkling vocal harmonies, Soaring, expressive solos and A dreamlike, enveloping atmosphere

It’s a sound that nods to ’90s shoegaze and dream pop while weaving in modern indie rock and psychedelic flourishes — a palette that will resonate with fans of Ride, DIIV, NewDad, Wolf Alice, Alvvays, Beach Fossils, Keane and Lush.

Here’s where you can catch COSM as they bring Black Holes to life on stage:

Whether you’re already deep in the COSM universe or discovering them for the first time, these shows are shaping up to be something special — intimate, atmospheric, and charged with the energy of a band levelling up in real time.

Dry Cleaning have always occupied their own strange, magnetic corner of British guitar music — a place where deadpan poetry, wiry riffs and surreal emotional snapshots collide. With their third album Secret Love already hailed as “a surrealist masterpiece” and earning Album of the Week/Month nods across the board, the London quartet are stepping confidently into a new chapter. And now, ahead of a huge run of European, UK, North American and Australasian dates, they’ve dropped a brand‑new single: ‘Sliced by a Fingernail’.

The track arrives with a beautifully odd visual from BULLYACHE — a kind of laundry‑noir dreamscape that mirrors the band’s knack for turning the mundane into something uncanny. Musically, it leans into the band’s rich palette: early‑80s US punk tension, stoner‑rock weight, and those motorik undercurrents that have become part of their DNA. Over it all, Florence Shaw delivers another set of abstract, quietly devastating lines.

Shaw explains that the song circles around someone who recoils from attention — someone who feels “sliced up” by too many eyes. There’s a vivid image at the heart of it: a fingernail pressing into a flower petal, leaving a brown mark. Peony buds that refuse to open. The desire to disappear into a crowd at night. Even a nod to Jooyoung Kim’s picture book Welcome to My Life, about a dog with a comically long body. It’s classic Dry Cleaning territory: the surreal and the sincere, stitched together with a kind of sideways tenderness.

To mark the release, the band have also unveiled a limited‑edition t‑shirt, available exclusively through their website — a one‑off drop for fans who love the band’s visual world as much as their sound.

Dry Cleaning’s upcoming tour is their most ambitious yet, stretching from Berlin to Brixton, Chicago to Sydney, Wellington to Zagreb.

DRY CLEANING TOUR DATES
7 April – BERLIN, GERMANY, Festsaal Kreuzberg +
9 April – COPENHAGEN, DENMARK, Vega +
10 April – HAMBURG, GERMANY, Mojo Club +
11 April – AMSTERDAM, NETHERLANDS, Melkweg +
13 April – BRUSSELS, BELGIUM, AB Box +
14 April – PARIS, FRANCE, Le Trianon +
17 April – DUBLIN, IRELAND, Vicar Street -
18 April – LIMERICK, IRELAND, Dolan’s -
20 April – CARDIFF, UK, Tramshed x
21 April – BIRMINGHAM, UK, XOYO x
22 April – LONDON, UK, O2 Academy Brixton = x
24 April – GLASGOW, UK, SWG3 TV Studio x
25 April – MANCHESTER, UK, New Century Hall x
30 April – CHICAGO, IL, USA, Thalia Hall % *
1 May – TORONTO, CANADA, Concert Hall % *
2 May – MONTREAL, CANADA, Foufounes Électriques % *
3 May – HUDSON, NY, USA, Basilica Hudson % *
5 May – BOSTON, MA, USA, Paradise Rock Club % *
6 May – PHILADELPHIA, PA, USA, Union Transfer % *
7 May – BROOKLYN, NY, USA, Brooklyn Steel ^ * 
8 May – WASHINGTON, DC, USA, Howard Theater *
10 May – NASHVILLE, TN, USA, Basement East *
12 May – OMAHA, NE, USA, Slowdown *
13 May – DENVER, CO, USA, Meow Wolf *
15 May – SALT LAKE CITY, UT, USA, Kilby Block Party
16 May – BOISE, ID, USA, Shrine Ballroom *
17 May – PORTLAND, OR, USA, Wonder Ballroom * 
18 May – SEATTLE, WA, USA, Showbox *
20 May – SAN FRANCISCO, CA, USA, August Hall *
21 May – LOS ANGELES, CA, USA, The Belasco
22 May – SAN DIEGO, CA, USA, Casbah
28 May – BRISBANE, AUSTRALIA, The Princess Theatre (Open Season)
29 May – SYDNEY, AUSTRALIA, Sydney Opera House (Vivid LIVE) #
30 May – MELBOURNE, AUSTRALIA, The Forum Theatre (Rising Festival) >
2 June – WELLINGTON, NEW ZEALAND, Meow Nui
3 June – AUCKLAND, NEW ZEALAND, Hollywood Avondale
6 June – FREMANTLE, AUSTRALIA, Arrival Festival
7 June – BALLARAT, AUSTRALIA, Civic Hall
11 June – HOBART, AUSTRALIA, Odeon Theatre (Dark Mofo)
22-24 June – ZAGREB, HUNGARY, Inmusic Festival
3 July – KRAGGENBURG, NETHERLANDS, Wilde Weide Festival
10-12 July – BRUGGE, BELGIUM, Cactus Festival
23-26 July – SOUTHWOLD, UK, Latitude Festival
31 July – PORTLAW, IRELAND, All Together Now
6-9 August – CASTELBUONO, ITALY, Ypsigrock Festival
20-23 August – CRICKHOWELL, UK, Green Man Festival
30 August – SAINT-CLOUD, FRANCE, Rock En Seine
 
+ w/ The Tubs
- w/ Search Results
x w/ Tony Bontana
= w/ Jerkcurb
% w/ YHWH Nailgun
^ w/ Snooper
* w/ Hotline TNT
# w/ Station Model Violence
> w/ Silicone Prairie

Support across the run comes from a brilliantly eclectic cast including The Tubs, Search Results, Tony Bontana, Jerkcurb, YHWH Nailgun, Snooper, Hotline TNT and more — a lineup that mirrors Dry Cleaning’s own taste for the offbeat and the unexpected.

Secret Love has already cemented itself as one of the standout guitar records of the year, with critics praising its emotional depth, sonic ambition and the band’s ever‑evolving chemistry. MOJO called it “a wonderful album,” The Guardian praised its “powerful effect,” and The Sunday Times described it as “fantastically odd and quite affecting.” It’s the sound of a band sharpening their edges while expanding their world.

With a new single, a sprawling tour and a critically adored album, Dry Cleaning feel like a band in full bloom — even if their lyrics still linger on the beauty of things that refuse to open. Sliced by a Fingernail is another reminder of why they’ve become one of the most compelling British guitar acts of their generation: strange, stylish, emotionally precise, and always a few steps left of where you expect them to be.

DRY CLEANING ONLINE
Official Site | Bandcamp | Instagram