English indie rock outfit The Vaccines – made up of Árni Árnason (bass, vocals), Yoann Intonti (drums), Justin Young (lead vocals, guitars) and Timothy Lanham (guitars, keys, vocals) – dropped a track today that, at first look, could be considered misleading. The title “Love To Walk Away” gives off the impression that the song will be a positive one, perhaps one about finding empowerment in walking away. However, the lyrics come from the perspective of an outsider – an assumed lover – who is experiencing grief as the result of a crumbling relationship. They watch the runner prepare to run. With lyrics like “How come you’re always leaving?” it is implied that this is patterned behavior.
Sonically, there is a sunny disposition that just does not align with the lyrics, almost making the contemplative message more palatable. (Hey, who really loves confrontation or existentialism THAT MUCH?)
Says Young of the release, co-written with Andrew Wells: “This is the song responsible for the album’s direction sonically and thematically. Given the record’s central theme is not knowing what direction you’re headed in, it feels poignant that the music was so sure of itself so quickly.”
Check it out below.
The Vaccines 2024 US Tour Dates with The Kooks Feb 29 – Atlanta, GA @ Tabernacle Mar 1 – Asheville, NC @ Orange Peel Mar 2 – Columbus, OH @ Newport Music Hall Mar 4 – Toronto, ON @ QET History Mar 5 – Montreal, QB @ Mtelus Mar 6 – Albany, NY @ Empire Mar 8 – Boston, MA @ MGM Fenway Mar 9 – Philadelphia, PA @ Fillmore Mar 11 – New York, NY @ Terminal 5 Mar 12 – Brooklyn, NY @ Brooklyn Steel Mar 13 – Washington DC @ Anthem Mar 15 – Chicago, IL @ Riviera Mar 16 – Minneapolis, MN @ Filmore Mar 18 – Denver, CO @ The Fillmore Mar 19 – Salt Lake City, UT @ Union Mar 21 – Los Angeles, CA @ Palladium Mar 22 – San Francisco, CA @ Fox Theatre
Today, San Diego rock act Embers releases To: The Moon, a 5-track EP that will get you on your feet, jamming out to anthemic melodies about mistakes, intrusive thoughts, and other relatable material. Sleeping with Sirens’ Kellin Quinn guests his notable vocals on the EP’s second track, “eating me alive,” giving this otherwise dark track another intense and beautiful layer.
Explains Embers of the EP: “’To: The Moon’ is a melting pot of my influences using inspiration from pop punk and emo to reflect on mental health struggles, toxic relationships, and emotional turbulence. A step forward from my last EP ‘EMO SZN’, ‘To: The Moon’ finds itself a more energetic place in my catalog.”
And he’s not wrong. The energy is on another level. Get your first listen to the Embers EP in its entirety below.
Recording the EP has been an amazing journey. On my first EP, I was going through such a hard time, and it reflects in the music. I’m so proud of the lyrical content and how therapeutic performing those songs is for me and my fans, from what I’ve been told. This second EP takes the basis of the sound of the first EP, but bumps up the energy x 100. The guitars are bigger and the lyrics are less desperate and stronger to match. I can’t wait for people to hear the new music live.
Alt-rock outfit We The Kings – yes, THAT We The Kings – recently signed to Graveboy Records. The momentous partnership is marked with the release of their latest work, a single titled “Alien.” The song begins with a melancholic feel, rectified by a quintessential upbeat, fast-paced chorus. “We’re all just a bunch of kids who feel like aliens searching for the answer to the question – ‘does anybody else feel like I do,’” shares lead singer Travis Clark.
One part anthem and one part inquiry, “Alien” seeks the match to our souls, any minor detail to connect us to others. It asks everyone who feels “other” to be proud. The song itself seeks similarities in the irregularities and differences. Combine this journey with relatable lyrics and a catchy tune, and this release is poised for charting success.
“Every few albums or so I get a strong feeling about a song,” says Clark. “It’s hard to explain, but the last 2 times I felt this way were with ‘Check Yes Juliet’ and ‘Sad Song’. I have that same feeling about “Alien” so only time will tell what that means!”
Emo children of the aughts rejoice, because one of our favorite live bands is making the rounds again, and they’re bigger than ever before. Pop-punk bad boys Yellowcard delivered a kiss of surf pop, a hint of nostalgia, and a whole lot of energy every time they took the stage. So when I had the opportunity to interview Ryan Key, Yellowcard’s lead singer, Star Wars aficionado, podcast host, and content creator extraordinaire – I snapped it up.
One of the first things I say, after promising myself not to bring it up? “I spoke to you in 2006 and it was to ask you to sign a t-shirt for my friend and I was too nervous to say anything else.” Cool. Word vomit.
“Oh, I was such a little shit in 2006 too,” Key immediately admitted, laughing. “So, it should be a way better encounter this time, I promise.”
Key’s self-awareness eased us into a conversation that ran the gamut. From our shared love of Star Wars (Though I haven’t quite expanded into podcast territory yet), being driven by bitterness through some tough times, how it feels coming off the biggest tour Yellowcard has ever experienced, and reflecting on 20 years of Ocean Avenue.
Yellowcard’s rapid-fire return fueled a “Celebrating 20 Years of Ocean Avenue” tour that took on bigger venues than they’ve ever played. The band’s welcome back was far from polite, with screaming fans more dedicated to the art form, acceptance of the music, and enjoyment during shows to fuel the energy.
From theatrical beginnings…
Admittedly, Ryan didn’t do much with music growing up. He took piano lessons for a couple of months, hated it, and quit. He wasn’t much for musicals, either. He was much more attached to the idea of the theater. An idea – it seems – that may have stemmed from his first role as Tiny Tim in none other than A Christmas Carol.
“It’s two lines,” Key admits, laughing. “But being on stage at 6 years old in front of enough people, I can only imagine shaped me, changed me forever. Having that moment happen on your impressionable little 1st-grade mind. It’s like, yeah I want more of this. You get that dopamine hit of being on stage and the adrenaline of that, you want more of that. And you don’t know why but I think as a kid, after that, I was just dead set on being on stage however I could.”
In 10th grade, Key was accepted to Douglas Anderson School of the Arts in Jacksonville and his pursuit of acting and theater got really serious. He was super involved at school in the shows and the deep, specific education. “We were studying Stanslovsky and real heavy stuff for high school kids,” Key says.
…to stress-reducing hobbies.
To help blow off steam in his -very limited – free time? “I had a band on the weekends,” he explains. “I got my first guitar when I was 11 or 12 years old and I played it and I wrote really crappy songs and had some friends that I played with but that was never gonna be something that I did professionally. I never even had it in my mind. I didn’t really enjoy singing, to be honest, very much. It’s still not my favorite part of my job. I was the lead singer of the band but I think that comes from that sense of wanting to be an entertainer, wanting to be a performer.”
This fact can be hard to believe, as Key’s vocal range is impressive and wide-ranging in its pop-punk glory. And his life performance tactics? Energetic to this day, at a level most people aren’t entirely capable of even at their peak. “It was never in my mind as something I wanted to pursue as a career,” he shrugs. “I just didn’t get into college where I wanted to go.”
When one door closes…
Ryan never let his rejection to the Theater Program at Boston University – twice, unfortunately – go. “I got into school in Boston but I didn’t get into their BFA program. My parents were like, ‘We’re not going to spend all that money for you to go to a private school in Boston if you’re not in the program that you want to be in.'”
While reasonable, it can be difficult to recover from something like that so early on in one’s career. From that bitterness was born a focus. Admittedly – and fairly – Ryan was spiteful about what had happened and chose not to complete the BFA program he started in Florida. He dropped out of school, leaned hard into music, and eventually began singing in Yellowcard.
To hear an artist admit to leaning into something in that anger is very refreshing. You often hear about heartache and heartbreak in everyone’s work, but it can be difficult to address the times of anger and instances when you feel things didn’t go the way they perhaps should have. Having a creative outlet to pour himself into was clearly the way to go, and is something so many of us should embrace as a healing mechanism in times of trouble.
Celebrating 20 Years of Ocean Avenue
Ryan says the band really appreciates the fact that the fans have weathered the storms alongside them. He credits this grand musical journey to the fact that fans have been patient and forgiving.
I have, personally, been a fan of Yellowcard’s since I was an adolescent, so getting a peek into their tour dynamic was ideal. When asked about the “Celebrating 20 Years of Ocean Avenue” tour, Key was almost gushing. “I feel like my favorite part of the tour was the energy between the band itself. I don’t think we’ve ever gone on a tour that was so lacking in negativity as this one. This tour was so full of happiness and positivity that it felt like an alien world, almost, compared to the Yellowcard that I’ve known for the past 20+ years.”
What Key refers to – this feeling of a more in-sync crew and better touring environment and experience – has been echoed by artists the world over since the pandemic triggered larger conversations around mental health and balance in the music industry. Tours are being approached in a more holistic manner, and it’s been a reinvigorating time in the music industry. He went on:
I think we all felt that way. Which compounded each other aspect of the tour. The shows and interaction with fans, on-stage and off, and the support I think that we had from our crew every day felt stronger and better. I think that’s because there was a sense of peace and calm on the road.
We’ve never had that. Yellowcard has historically been a bit of a chaotic and tumultuous bag of personalities that have not created the best environment to work in. So this was, you know, jarring in the best possible way, to get out there and get a couple weeks in and realize, Oh, everything is just OK. And we can just let that be.
Pausing to reflect
It was almost spiritual, the way that he described it. Key’s acute awareness of the dynamic of the band made me wonder, aloud, how long it took in his career to come to this acceptance of who he is and his identity in the band.
I think it started, for me personally, during the final chapter of it all, at the end. You know, in 2016, 2017. Realizing that I was going to lose it forever because, at the time, it truly felt like that was going to be the case. It started with, I think, just a simple idea of really wanting to enjoy that tour in 2016 and 2017 and the international stuff we did.
That whole experience, as much as I tried, was sort of tinged with the reasons we were stepping away from it. The metrics that you use to quantify success, right, started to say “This is on the way down. We’re on the backslide.” Let’s end this before it goes too far so we can end it on our own terms and make it something special for fans and for ourselves.
It went a lot deeper than that because it did go into the personalities and the inner workings of the band and things that we keep pretty close to the chest. So, as much as I tried to really enjoy it all, there was still an air of sadness and kind of negativity that had carried into that from all of the reasons we decided to step away in the first place.
It wasn’t until I got home and started to have to figure out how to make my own way [that the self-awareness set in.] And the pandemic, really, was huge. A good friend of mine from high school was stopping through to stay with me. I had moved back to Los Angeles – which didn’t work out because the pandemic hit and we couldn’t tour or work so I was only there for about 6 or 8 months and then I left to come back east – but I had gone out there to kind of re-establish myself there and start working on film and tv music and things I want to do, too, as I get older.
My friend stopped through and it was only going to be for a week but it was the week that the lockdown happened in California. So he ended up staying with me for an entire month. During that time, he sort of opened my mind to meditating and starting to truly figure out what was going on with myself and work on the reasons why I had ended up where I was. I had never taken a minute to look that far inward, I don’t think. So it really wasn’t until 2020 that I started to kind of forge the path that has led me back here, now, where I am.
As if to echo this spiritual, self-reflective sentiment, he notably wrapped the tour wielding a lightsaber, a symbol that the force is strong. While he claims that he brought the saber to make his nephew happy, we know there were probably additional motives here. (Because, really, who doesn’t want to have a lightsaber on tour with them?) For those of you wondering, yes, he does have a lightsaber lying around. In fact, he has multiple.
Embracing creative outlets
Besides his lifetime love of the franchise, Key has had the opportunity to connect with the franchise on a different level since the pandemic. “I’ve been really lucky the last 3 or 4 years to intensify my connection with Star Wars through hosting the Thank The Maker podcast with my friends,” he almost gushes. “I think Star Wars reminds you, at 43 years old, if you just give in and let yourself love it the way that I do, it reminds you how to play. That’s something that adults just don’t do.”
At this point, Key doesn’t realize he has hit a home run and we dive into a conversation about what being a “Disney adult” means in certain circles and some of the symbolism involved in Star Wars. We agreed that a certain level of play is encouraged to truly live a full life, especially as we age. “I’m a big fan of my wife for allowing me to just embrace that side, that childhood side of me, and letting me dress up in costumes with my friends and swing lightsabers around, you know?” he says, almost in amazement. “It’s really been a beneficial thing.”
Embracing change
As for if anything has changed for the band over the years – aside from the deep, self-realizations and occasional weaponry – Ryan says writing with everyone has become much more simplified. Explaining that the technology just wasn’t there to support quick changes to tracks and production fixes when they recorded their first albums, Key said the process now is just so much more accessible. “We can get right into ProTools, create the demo, program the drums so that we can change those around – we can try all the different options.”
The great part about having home studios is being able to control the sound as you build it. This way, you have more of an actualized recording that more than likely will sound much more similar to the final product. “It’s way more inspiring to have a good-sounding, ripping demo to steer the direction of the melody and the lyric that I’m going to put over the music.”
But the way Yellowcard writes? Pretty much the same. And super focused on the instrumentals. “It’ll start with usually a guitar riff. Shawn also has brought plenty of ideas on the violin or ideas for the structure of a whole song. He’ll have like a motif or a chord progression he will bring in that we will then build riffs and things around that.”
But you have to remember, Ryan is one with The Force. “I get middle-of-the-night ideas sometimes. I’ll wake up or I’ll not be able to sleep, one or the other. And it’ll just happen and I’ll take out my notes app on my phone and start plugging stuff in.
The title track from their latest release, “Childhood Eyes,” actually came to be that way. “I woke up with that chorus melody in my head and I started to put words to it. I could hear it happening in my head. And when I got to Austin for pre-production, I had an idea for the verse and the chorus in my notepad but I had never picked up a guitar to put music to it. So I just said, ‘Hey I have these lyrics and I have sort of a cadence and a rhythm for them.’ And we wrote the whole song in 15 minutes.”
Looking forward…
In the coming weeks, Key will be working from his new home studio. When asked about his plans for the space, he perks up immediately. “I’m doing the whole room black,” he says. “Ceiling, walls, floor. A lot of wood grain and a lot of green pops in the room. The vibe is super Scandinavian, and I love that. I’m a big fan of Iceland, Sweden and Denmark. I love that part of the world so much. So we have a lot of this [look] in our house.”
Even more than the initial planning and execution of the project, this room will hold so much more meaning for Ryan as an artist, as he explores new podcast-related projects, and films content, pursues long-term goals (like music supervision and composition), and writes new Yellowcard songs for us to enjoy. It will also hold space for Ryan as a new father, viewing movies and creating art in this space with his family.
You mentioned we met in 2006. I wouldn’t want to meet me in 2006, you know? It’s just not even comparable, the headspace I’m in now and the tools that I have now to kind of prove my reactivity and try to stay positive. Things I was just incapable of doing for the better part of my career in Yellowcard until now. So, in the end, stepping away from the band and having that time was probably the best possible thing that could happen to me, personally. Because the perspective that I’ve come back to the band with is just so wildly different than it’s ever been before.
Yellowcard has, once again, taken a front seat in Ryan’s life. Check out an upcoming performance near you throughout 2024.
Between global pandemics, burnout culture, and the rise of AI, the future seems more bleak than ever. The alt-rock artist Moon Walker expresses his frustrations with the present-day in the track “Give The People What They Want”, tackling the defects of American society via an arresting punk rock song. The music video from Tiltshift Visual sets the song in a nondescript American office—aka, the source of many societal frustrations—and features a zombification of its workers.
Opening with an arresting dialogue between the guitar and bass lines, the music primes the video for its imminent belligerent energy. Amid the beats of drums and panning synths, zombies type away at keyboards and make trips to the fax machine, ambling their way through dimly-lit, whitewashed corridors. Anyone who’s ever worked a corporate job can easily relate to this shuffling, fatigued movement. All the while, Moon Walker’s electrifying voice echoes the sentiments of discontented people across the globe: “We want children we can’t care for, houses we can’t pay for, jobs we can’t stay awake for”.
The two zombies in the video are ghostly pale and dingy, covered in wounds as raw as Walker’s lyrics. Moon Walker’s guitar shredding accompanies the human coworkers running away from their zombie counterparts, terrified of the decomposed future they will inevitably embody. There is nothing subtle about Walker’s message: we’ve all become slaves and zombies to our jobs and the political climate surrounding us. The end of the video features a ticking clock, reminding us that time does not stop for anyone, and our zombification could be imminent if nothing changes.
In a world where solutions are few and far between, belting rock songs with catchy melodic hooks is a good form of escapism. “Give The People What They Want” previews the alt-rock artist’s third LP, the aptly named Apocalypticism, due out on October 20th. Walker will expose the most troubling aspects of society with this release, challenging the status quo and pushing for change. Additionally, get tickets now for Moon Walker’s debut U.S. tour in October 2023.
The song “Lines in the Sky”, which starts Cole Gallagher’s EP, The Confluence, has a soft sound. It makes you feel like you are at the beach, as he compares the person in his song to the sea. Emotions of excitement flow through the song, expressed through high notes. He is truly enjoying a fun time with this person at the sea.
As I contemplate more, I realize the sea is also a metaphor for his dreams being as vast as the sea when he is with this person, as they make him believe he can do anything he wishes. He is living in a world that is twisted, expressed through his voice. Deep and raspy, it captures emotions of anger, freedom, and pain, in a melody that flows smoothly and makes you feel like you releasing all of your emotions into the world. As he lets go of all his pain and anger, he finds that freedom is hard when you do not have the person you relied on to encourage you to see your dreams as vast as the sea.
As Gallagher sings the song “Stumbling in the Dark”, he goes through emotions of struggling to impress the person he is singing about. He believes he cannot live up to their expectations of how to act, and who to be. Despite feeling he cannot be his true self, he follows this person because he loves them too intensely to emotionally leave them. She is the only girl he will ever truly love. He is desperately searching for her so he can look into her eyes again. He is unsure how to show her that he cares about her forever and he hopes that her life is free of pain and worries, as he expresses by singing that he hopes the skies are blue for her.
During “Delilah”, the listener discovers the name of the person the lyrics to his EP has been flowing about. Delilah’s joy is his joy too, because her emotions are connected to how he feels. They are like a string, so when he or Delilah gets pulled or twisted a certain way, they are impacted by each other’s emotions. As expressed in his lyrics, his heart is open to her eyes, because he is open to looking deep into her soul and understanding life from her perspective. His heart will beat to her emotions and what she goes through in life.
In Cole’s song “Chatting Through Steal”, he struggles that his dreams have been packed up by people refusing to believe in him, and rejecting him. It is melancholic and contemplative, stirring pause in its listener.
In “Sugarland”, the melody intertwines as words enter this song, with emotions of helplessness. He wonders about what it would be like to see beyond the fields he lives in. Loneliness overwhelms him and he feels trapped in the fields. Hope fills his soul as he watches the bluebirds flying in the sky and “the flames rise up,” as articulated through these descriptive lyrics.
“The Ocarins of the Tennessee” starts with a slow, calming melody. As he is floating away, he continues to keep the attachment of this person whom he loves in his heart, vowing to never forget the sound of their voice. The sound of this person’s voice brings him both comfort and grief. He compares this person’s voice to the sounds of the sea because the sea is where he has had many memories with them. His heart is floating away with this person in his mind and away from this person in reality. At the end of this song, his high notes repeat in a steady flow in a pattern, capturing the emotions of being content with this person at the sea and the pain of losing them.
Get ready to crank up the volume and dive into the electrifying world of rock with IRONTOM‘s ‘SUPER//STAR.’ This high-energy track is a rollercoaster ride of emotions, fueled by edgy guitar riffs, pulsating rhythms, and a captivating vocal delivery that demands your attention from the get-go.
From the moment the first chords hit, ‘SUPER//STAR’ sets the stage for an exhilarating musical journey. The lyrics oscillate between bold self-confidence and introspective vulnerability, creating a dynamic contrast that draws listeners in. The repeated chorus, declaring the speaker as a ‘superstar,’ echoes with anthemic power, making it impossible not to get caught up in the hype.
IRONTOM‘s masterful fusion of rock elements and electronic textures adds a modern twist to the song, creating a sound that’s both familiar and fresh. The band’s tight instrumentation, combined with the lead singer’s charismatic delivery, captures the essence of rock ‘n’ roll energy. The way the track builds, combining catchy hooks with an explosive chorus, makes it an instant earworm that’s bound to leave you singing along.
What makes ‘SUPER//STAR’ truly shine is its ability to encapsulate the allure and complexities of fame in a single track. The lyrics dive into themes of love, betrayal, and the pursuit of recognition, painting a vivid picture of the highs and lows that come with the superstar lifestyle. The song’s clever blend of sarcasm and genuine emotion adds layers to the narrative, inviting listeners to consider the various facets of the ‘superstar’ identity.
Overall, ‘SUPER//STAR’ by IRONTOM is a rock anthem that doesn’t just rock your speakers—it rocks your world. Its infectious energy, magnetic lyrics, and skillful musical arrangement come together to create a track that’s as hype-inducing as it is thought-provoking. Whether you’re a rock enthusiast or simply a fan of high-octane music, this song is a must-listen that will have you hitting the replay button again and again.
UPCOMING TOUR DATES 9/22 – Grand Rapids, MI – 20 Monroe* 10/3 – Boulder, CO – Boulder Theater* 10/7 – Ventura, CA – Majestic Ventura Theater* 10/19 – Los Angeles, CA – Moroccan Lounge (album release show) 10/31 – San Jose, Costa Rica – Estadio Nacional # 11/4 – Rio De Janeiro, Brazil – Estádio Engenhão Nilton # 11/7 – Brasilia, Brazil – Arena BSB Mané Garrincha # 11/10 – São Paulo, Brazil – Estádio Do Morumbi # 11/13 – Curitiba, Brazil – Estádio Couto Pereira # 11/16 – Porto Alegre, Brazil – Arena Do Grêmio # 11/19 – Santiago, Chile – Movistar Arena # 11/21 – Santiago, Chile – Movistar Arena # 11/24 – Buenos Aires, Argentina – Estadio River Plate # 11/26 – Buenos Aires, Argentina – Estadio River Plate #
For two decades, Scott Fisher has crafted musical fusions of his own design, with works featured in popular TV shows such as Shameless, Parks & Recreation, and Gossip Girl. His groovy rhythms are infectiously catchy and are right at home in these comedies and dramas. If his new single “Still the Same” were in a show, it would accompany a protagonist returning to their old hometown, expecting friends and family to have changed—only, they find that everything has stayed the same.
Funky jazz chords and a guitar riff hook the listener from the start, evoking 1970s production styles. Fisher’s voice echoes with reverb, infusing the song with a contemporary indie-pop spin. The lyrics are contemplative, as the speaker observes the inherent constancy of people despite ever-changing surroundings. Fisher observes that “the same old thoughts” are “in different brains” and “the gray in your beard is all that changed.” It’s a timeless feeling, as we move from one place in life to the next and realize that human emotions are, at their core, changeless.
“Still the Same” is the third single from Fisher’s upcoming album, Kingdom of Ego. Fisher is currently based in Los Angeles, where he has worked on acclaimed television shows (Shameless, Parks and Recreation, Better Call Saul, The Good Doctor, etc.). He has opened for Brandi Carlile, Augustana, and Pink Martini, in line with their genre-crossing musical styles.
Loveless invites us into a mesmerizing realm of music where genres blend and emotions soar. With harmonies that tug at heartstrings and lyrics that paint vivid stories, Loveless is a captivating musical journey we cannot miss.
“Drag Me Down,” Loveless’s latest single, takes us on a rollercoaster ride of aspirations and self-discovery, all set to a catchy and upbeat melody. Picture this: a wannabe movie star trying to strut their stuff, hoping to be the next big thing on the silver screen. They’re dreaming big, just like the heroes who always save the day, but they’re also facing some unexpected plot twists.
As the song plays on, our protagonist starts to realize that being a hero isn’t all it’s cracked up to be. The chorus shouts out “Drag me down with you,” a battle cry against those pesky challenges that try to spoil the fun. It’s like they’re saying, “Hey, I won’t let life rain on my parade!”
And just when you think things are settling down, the song throws a curveball with lines like “The fear of dying alone / Doesn’t hurt half as much / As the feeling of letting it go / After one last touch.” It’s a mix of deep thoughts and lively beats, keeping us grooving while pondering life’s twists and turns.
So, kick back, imagine yourself in a movie montage, and let “Drag Me Down” be your anthem of resilience and the pursuit of dreams, all wrapped up in a toe-tapping, head-bobbing package.
LOVELESS WORLD TOUR DATES 8/17 Sydney, AUS Metro Theatre 8/18 Brisbane, AUS Triffid 8/20 Melbourne, Aus 170 Russell 9/16 Paris, FR Trabendo 9/18 Amsterdam, NL Melkweg OZ – SOLD OUT 9/20 Berlin, DE Columbia Theater – UPGRADED 9/21 Hamburg, DE Reeperbahn Festival 9/23 Brussels, BE AB Club – SOLD OUT 9/25 Cardiff, UK Tramshed – UPGRADED 9/26 London, UK Electric Ballroom 9/29 Birmingham, UK O2 Institute 2 – SOLD OUT 9/30 Manchester, UK Academy 2 – UPGRADED & SOLD OUT 10/1 Glasgow, UK Garage – UPGRADED 10/3 Dublin, IE Academy Green Room
