Grapevine Bristol

Cushty! ‘This Time Next Year We’ll Be Millionaires’ set Good Health Good Wealth on the road to a big future, with main stage sets at Reading and Leeds, airplay across Radio 1, BBC Introducing and Radio X, and a sold-out autumn headline tour. Now the duo showcase another side to their music with a host of friends and guests with the release of the accompanying remix album on March 10th.

While the original ‘This Time Next Year…’ album distilled seven years of vocalist Bruce Breakey’s life into a single week-long narrative, the remixes give the story a fresh perspective – as if different decisions were made, leading to a different outcome. Sonically, it’s a complete switch up too, pushing the GHGW sound into 3am hedonism. That is encapsulated from the outset as Sam Green and Karma Kash rework ‘Full Circle’ for the dancefloor, before Happy Cat Jay’s genre-clashing take on the break-up tale ‘The Cafe’ sounds as if Bruce had gone straight there from an all-nighter and was still off his chops.

Elsewhere, DRIAA gives ‘White Men’ a frenetic breakbeats workout, and 1-800 GIRLS take ‘Beautiful Boy’ from vulnerable to euphoric with some throwback piano house vibes. It closes when Monticolombi gives the title track a foreboding tone to switch the story’s finale from optimism to classic Del Boy defiance.

Good Health Good Wealth complete the set with two of their own remixes. Guitarist/producer Simon Kuzmickas amps up the anger in ‘You Don’t Know Me’, its driving beat and punk riffs taking us back to the heady days of indie sleaze. And Bruce leans into hip-hop for ‘I Forgot’, its atmosphere now suggesting that if the bar didn’t close, he’d never leave.

Both the remix album and the original record will be packaged as a limited pressing double-vinyl (?) ‘This Time Next Year We’ll Be Millionaires’ Deluxe Edition. It will be available from the GHGW store and at the merch desk during next month’s headline tour.

Good Health Good Wealth are currently on the road with Big Special ahead of the second leg of the ‘This Time Next Year…’ headline tour in March – limited tickets remain available HERE. Their summer festival plans are taking shape too, with Truck, Lazydays, Latitude, Boardmasters and Victorious already confirmed. The dates are:

FEBRUARY – WITH BIG SPECIAL

24th – Bristol, Electric

25th – Southampton, 1865

27th – London, The Roundhouse

MARCH – HEADLINE TOUR

19th – Hebden Bridge, Trades Club

20th – Blackpool, Bootleg Social

21st – Liverpool, District

22nd – Sheffield, Yellow Arch

24th – Nottingham, The Angel (SOLD OUT)

25th – Newcastle, Think Tank (LOW TICKETS)

26th – Hull, Adelphi

28th – Wrexham, Rockin’ Chair (LOW TICKETS)

29th – Cardiff, Clwb Ifor Bach

APRIL – HEADLINE TOUR

1st – St. Albans, The Horn (LOW TICKETS)

2nd – Guildford, Boileroom

3rd – Southampton, Joiners

4th – Bedford, Esquires (LOW TICKETS)

MAY

22nd – Derbyshire, Bearded Theory

JULY

24th – Oxfordshire, Truck Festival

25th – Southend, Lazydays Festival

26th – Suffolk, Latitude Festival

AUGUST

2nd – Derbyshire, Y NOT? Festival

7th – Torquay, Boardmasters Festival

8th – Portsmouth, Victorious Festival

15th – Hampshire, Boomtown

30th – Lincolnshire, Lost Village

‘This Time We’ll Be Millionaires (Remixes)’:

1. ‘Full Circle’ (Sam Green & Kash Karma remix)
2. ‘The Cafe’ (Happy Cat Jay remix)
3. ‘You Don’t Know Me’ (Simondo remix)
4. ‘White Men’ (DRIAA remix)
5. ‘I Forgot’ (Bruce’s remix)
6. ‘Beautiful Boy’ (1-800 GIRLS remix)
7. ‘This Time Next Year We’ll Be Millionaires’ (Monticolombi remix)

Follow Good Health Good Wealth:

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Curiosity about his ancestry has led songwriter and multi-instrumentalist Son Little on a journey throughout the American South that has resulted in his new album, simply titled ‘CITYFOLK.’ The West Coast-born, Northeast-bred musician finetunes his craft here and speaks for those enduring tribulations about finding their place in the world.

Equal parts cosmic and carnal, on ‘Cherry’ Little drifts through hazy memories and half-truths, chasing that electric moment when love feels both eternal and fleeting. It’s tender, a little tipsy, and full of wonder – the sound of falling in love at light speed, knowing it might all disappear by morning. Give it a listen below.

LISTEN TO ‘CHERRY’ ON SPOTIFY AND YOUTUBE 

Little, whose real name is Aaron Livingston, has sonically travelled everywhere that his songwriting and instrumentation have taken him. He’s toured with the likes of Black Pumas, Kelis and Mumford & Sons and made festival appearances at Newport Folk and Bonnaroo, melding his dedicated fanbase with mainstream listeners. On the soulful fluidity of 2020’s ‘aloha,’ the ANTI- Records act braves his way through realisations about his personal shortcomings, but endeavours to persevere through the madness. 2022’s ‘Like Neptune’ unspools Little’s time in therapy, no longer silencing his inner fire. With a catalogue that has amassed over 250 million streams, Little’s originality has embarked on a new chapter.

Now living outside of Atlanta, Livingston attributes the development of ‘CITYFOLK’ to going even further south to record in Muscle Shoals, Alabama. It was there that Little, whose past collaborations include The Roots and RJD2, connected with two-time GRAMMY-winning musician and Alabama Shakes band member Ben Tanner to flesh out sketches of songs that he’d crafted through epiphanies about his family’s roots. 

Before immersing himself in the home studio of Tanner’s residence in Shoals, Little recorded voice note demos with subtle instrumentation that became the framework of ‘CITYFOLK.’ The acoustic demos would soon be mixed with drum machine beats before evolving into live material with contributions from a drummer, bassist and horn players. These jam sessions fully brought the record into existence, while the unchanging southern comfort and musical richness of Shoals remained a backdrop to the album’s hymnal stew. In the late 1960s, the Muscle Shoals Sound Studios housed unbridling protest anthems and melodious love songs that would become the classics of tomorrow. Little’s ‘CITYFOLK’ is such a relic in the musical path that has been paved for him.

“Just by showing up it brought something out,” Little explains. “I realized, in moving here, that my mother’s people all came from this area, from South Carolina, Georgia–I thought a lot about how interesting it was that I would just sort of gravitate and migrate to a place where I had history.”

“Sometimes the spirits will guide you to a place when you don’t even know you don’t know why you found yourself there,” Little continues.

This spring Little will continue to travel the world and seek new experiences, including a European tour that begins April 7. All upcoming dates are listed below. Tickets are available here.

TOUR DATES 

7 April – Rennes, France @ Mythos Festival
8 April – Amsterdam, Netherlands @ Paradiso
9 April – Rotterdam, Netherlands @ Annabel
10 April – Brussels, Belgium @ Le Botanique Orangerie
11 April – Hamburg, Germany @ Betty
13 April – Berlin, Germany @ Frannz Club
14 April – Prague, Czech Republic @ Cafe V lese
15 April – Warsaw, Poland @ Jasmine
17 April – Cologne, Germany @ Yard Club
19 April – Brighton and Hove, UK @ DUST
20 April – Bristol, UK @ The Croft
21 April – Manchester, UK @ Band on the Wall
22 April – London, UK @ Jazz Cafe
25 April – Paris, France @ Alhambra

Pre-Save ‘CITYFOLK’ 

1. Rabbit 
2. Whip The Wind 
3. Let’s Get Involved 
4. It’s Your World 
5. Cherry
6. Bottomless 
7. Be Better
8. The Valley 
9. In Orbit
10. Paper Children 
11. Breathe 

www.sonlittle.com   

www.instagram.com/sonlittlemusic | www.facebook.com/SonLittleMusic 

YouTube | Spotify  

Georgia-bred singer, pianist, and soul revivalist Brother Wallace will perform his first UK shows in May 2026. Having last week announced his debut album ‘Electric Love‘ (out 8th May via ATO Records), the singer will make two appearances at The Great Escape before playing a string of shows across the country, culminating in a performance at Cross The Tracks festival in London. Brother Wallace recently shared the album’s title track —a Motown-esque number that’s equal parts playful, revelatory, and gloriously cathartic—alongside an official music video. The track, which has been premiered by The Craig Charles Funk and Soul Show on BBC Radio 6 Music, is a bold first chapter from a voice that feels less like a “new artist” and more like a force that’s been building quietly for years, waiting for the right voltage.   

DEBUT UK SHOWS:

May

Thu 14th – The Great Escape, Komedia, Brighton

Fri 15th – The Great Escape, Brighthelm, Brighton

Mon 18th – The Castle, Manchester

Tue 19th – The Exchange, Bristol

Wed 20th – Colours Hoxton, London

Sun 24th – Cross The Tracks, London

On the single ‘Electric Love‘, Brother Wallace doesn’t just sing about joy—he fights for it. The song moves like a shot of sunlight through a storm cloud: Stax-and-satin soul, piano-driven, and bursting with momentum, it’s built for the exact moment when you decide you’re not going to let the world harden you. “It’s about choosing connection,” Wallace says. “Finding that current again—the thing that reminds you you’re alive.”

LISTEN TO ‘ELECTRIC LOVE’

WATCH ‘ELECTRIC LOVE’ VIDEO, DIRECTED BY WILL WALTER

Raised in a small rural town where the church was both community and classroom, Wallace began singing early and started formal piano training at six years old. By 14, he was directing a 100-member choir—leading not from ambition, but from instinct. Music wasn’t extracurricular; it was identity. Still, his path didn’t follow the typical industry arc. Wallace built a life at the intersection of art and service, becoming a K–12 music teacher and shaping young voices day after day, even as his own kept growing into something undeniable.

Over time, that “teacher” story expanded into something bigger, including sharing the stage with gospel legend Kirk Franklin performing at Madison Square Garden. But it wasn’t until a chance meeting sparked a creative partnership—one that stretched across years and continents—that Brother Wallace’s vision began assembling into the album it was always meant to become.   

That partnership was with Dan Taylor (The Heavy), who became not just a collaborator but a catalyst. Recorded at Real World Studios (the legendary facility founded by Peter Gabriel) and produced/co-written by Taylor, Electric Love captures the breathless immediacy of Wallace’s performances—engineered and mixed by Bob Mackenzie (James Blake, The 1975, King Krule, SAULT) and Jim Abbiss (Adele, Arctic Monkeys). The result is soul music that feels alive in your hands: gritty, radiant, and built around the kind of vocal that turns rooms silent before it turns them inside out.   

Across its 13 songs, Electric Love is less a debut than a revelation—a body of work fueled by gospel roots and classic soul lineage (Sam Cooke, Little Richard, Southern soul greats) while refusing to live in nostalgia. Wallace writes in lived-in scenes and hard-earned feeling: heartbreak without defeat, joy without naïveté, vulnerability without apology. The album’s rhapsodic opener “Who’s That?” (released last fall as his first ATO single) entered the Top 30 at Triple A radio in the US for the first time this week—an amazing feat for his first-ever single. Now, the title track “Electric Love” expands the frame: this is an artist building a world where joy is radical, and connection is survival. Now, the title track “Electric Love” expands the frame: this is an artist building a world where joy is radical, and connection is survival.

For Brother Wallace, ‘Electric Love’ isn’t just a record. It’s proof of concept: a lifetime of music, faith, teaching, and grit distilled into something that hits like lightning—then stays.

Saint Etienne have added three further dates to their final ever UK & Ireland tour in 2026, due to phenomenal demand.

They will perform at Poole’s St Peter’s Church on 10 September, London’s Shepherd’s Bush Empire on 11 September following their initial London show at the Roundhouse selling out, and Birmingham Institute on 12 September.

Saint Etienne played their first ever live show on 15 November 1990 at Heaven nightclub in London, just months after releasing their debut single ‘Only Love Can Break Your Heart’.

Since then, they’ve appeared at major festivals across the globe, visiting more countries than Bob Stanley, Pete Wiggs and Sarah Cracknell can count on their combined fingers, and their UK tours have, at various points, featured Oasis, Stereolab, Broadcast and Pulp in support. They’ve also shared bills alongside the great and the good, from James Brown to Kylie Minogue.

Their final studio album ‘International’, released in September 2025, was praised as a pop music masterclass that distilled everything fans love about Saint Etienne. To celebrate both the album and the band’s long goodbye, shows were promised, and now the details of their final UK tour in September 2026 are confirmed.

Rather than a moment of sadness, the band see this as a series of celebrations: parties built around a live set that draws on the “best of the best” from their illustrious 35-year catalogue, including 17 UK Top 40 singles and 13 albums.

Will there be shows in Europe, America, Japan or Australia? Time will tell – but the band are clear: if you want to catch Saint Etienne on tour in the UK, 2026 will be the final opportunity.

The group spoke with NME in December on their decision to embark upon their final tour, as well as the reaction to the announcement.

Saint Etienne: Final UK & Ireland Tour
September 2026

Thursday 10                Poole, St Peter’s Church *NEW DATE ADDED*
Friday 11                     London, O2 Shepherd’s Bush Empire *NEW DATE ADDED*
Saturday 12                Birmingham, Institute *NEW DATE ADDED*
Tuesday 15                 Manchester, New Century Hall SOLD OUT
Wednesday 16            Bristol, Beacon Theatre
Friday 18                     London, Roundhouse SOLD OUT
Saturday 19                Sheffield, Electric SOLD OUT
Sunday 20                   Glasgow, SWG3
Tuesday 22                 Dublin, 3Olympia Theatre
Thursday 24                Gateshead, The Glasshouse
Friday 25                     Brighton, Dome
Saturday 26                Cambridge, Corn Exchange

For further Saint Etienne information: 

INSTAGRAM | FACEBOOK | X | YOU TUBE | SPOTIFY

www.saintetienne.com

Kicking things off at The Fire Station in Sunderland at the end of the month, The Bretheren are set to join good friends Midlake for a run of dates across the UK. The tour will make stops at some of the most beloved venues in the country, including the iconic Brudenell Social Club in Leeds, Gorilla in Manchester and cargo ship-turned-venue Thekla in Bristol. 

The Brethren will also play at the 1,500-capacity Electric Ballroom and Camden, before bringing the tour to a close by the seaside at Brighton’s Chalk. The tour follows the release of Midlake’s new album ‘A Bridge To Far’, which arrived last autumn, while The Bretheren are gearing up to release new music of their own. The full list of dates can be found below, and tickets are on-sale now.

About The Bretheren

Best known as Elle King’s backing band since 2015, The Bretheren have spent a decade touring globally, shaping the sound behind King’s raw and electrifying performances. Comprised of Joey McClellan (lead vocals, guitar), Dave “Moose” Sherman (keys), Paulie DeVincenzo (bass) and Dave Scalia (drums), their individual resumés extend fsr beyond, having also been members of Nick Cave and the Bad Seeds, Midlake, Kevin Morby, Rufus Wainwright, Dawn Richard, White Rabbits and The Veronicas. 

Recorded by The Bretheren at their Nashville studio, Brethren Sound, their debut album, ‘The Bretheren’ features lead vocal contributions from some of their favourite collaborators, including Elle King, Britt Daniel, Ben Bridwell, Hamilton Leithauser, Sharon Van Etten, Michael Shannon, Nicole Atkins, Butch Walker, Judy Blank and Striking Matches. 

The songs are the feature. Classic writing informed by years of playing many classic catalogs and creating a spark together as a band. The Bretheren’s first single is coming soon. 

2026 UK Live Dates

Opening for Midlake

31st Jan – The Fire Station, Sunderland

1st Feb – The Crossing, Birmingham

3rd Feb – Gorilla, Manchester

4th Feb – Brudenell Social Club, Leeds

5th Feb – Thekla, Bristol

6th Feb – Electric Ballroom, London

7th Feb – Chalk, Brighton

Tickets are available now. 

For more information:

Website | Facebook | Instagram | X

2026 will be the year in which The Enemy make a long-awaited comeback with the February 20th release of their new album ‘Social Disguises’ –  their first in more than a decade. Today they come into the year fighting as they preview the record with their new single ‘The Boxer’.

‘The Boxer’ finds The Enemy at their full-blooded best, as thunderous rhythms, a vehement main riff and Tom Clarke’s vitriolic vocals craft an hypnotic intensity. While it’s the story of a man whose glory days are behind him, it’s also a metaphor for more universal experiences – particularly the realisation that our futures can always change for the better if we can keep striving and battling for something more.

Tom Clarke says, “‘The Boxer’ is about a fictional character, but it’s an observation about regret and how anxiety can stop us achieving things we want to in life. It’s about fear holding us back, and how that can destroy who we are. We tried to achieve an industrial weight to the sound, and a monotony to the composition to reflect the sentiment of being stuck.”

‘The Boxer’ plus the recent singles ‘Not Going Your Way’ and ‘Trouble’ will also feature on the upcoming ‘Social Disguises’, which was produced by their long-term collaborator Matt Terry (‘40 Days and 40 Nights’ and ‘No Time For Tears’). This new era in The Enemy got underway with the reunion of their original line-up late in 2022. Never ones to do things by halves, the trio were fiercely committed to making sure that a new record equalled the standard of their breakthrough with their hit-packed, Platinum-certified #1 debut album ‘We’ll Live And Die In These Towns’. And part of the puzzle towards achieving that was one of dogged commitment: its songs are drawn from 90 demos that they have written since reforming.

It’s a comeback which is being embraced by fans. Last autumn’s UK headlinetour was entirely sold-out, a run of dates which the band have declared to be one of their best ever tours. Meanwhile the new songs have been celebrated by media as well as audiences, with recent support including NME, Radio X, This Feeling’s Video of the Week, Shiiine On’s Track of the Week, Live4Ever, Stereoboard, XS Noize and Songbird HQ.

The ‘Social Disguises’ album is available to pre-order HERE. The must-have physical format is a signed double-vinyl (one yellow, one orange) which extends the album to twenty tracks. Other formats include black vinyl, orange vinyl, regular CD, deluxe CD and cassette. All bundles purchased from the band’s official store add a bonus acoustic CD.

The Enemy will be back on stage throughout 2026. Summer festival dates at Tramlines, Y NOT? and Victorious are already confirmed, as is a major autumn arena tour as very special guests to Ocean Colour Scene. Their live schedule so far runs as follows:

JULY

26th – Tramlines

30th – Aug 2nd – Y NOT? Festival

AUGUST

30th – Victorious Festival

NOVEMBER – VERY SPECIAL GUESTS TO OCEAN COLOUR SCENE

21st – Glasgow, OVO Hydro

27th – Bradford, Live

28th – Manchester, AO Arena

30th – Newcastle, City Hall

DECEMBER – VERY SPECIAL GUESTS TO OCEAN COLOUR SCENE

1st – Derby, Vaillant Live

3rd – Swansea, Arena

4th – Bournemouth, International Centre

7th – Plymouth, Pavilions

8th – Brighton, Centre

9th – London, The O2

11th – Bristol, Prospect Building: Studio

12th – Birmingham, bp pulse LIVE

Follow The Enemy:

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THE TWILIGHT SAD today announce their long-awaited sixth album IT’S THE LONG GOODBYE due out 27th March via Rock Actions Records and available to preorder here.

Following the album’s lead track “Waiting For The Phone Call”, released last October, today the band also share the equally epic new single “DESIGNED TO LOSE”. The second track on the album is a beautifully meditative yet muscular reflection on the human condition, hinged on how we can seem doomed to lose in so many of our endeavours – including our capacity to cope with loss. Watch the visualiser here.

“It had to contain every element of emotion I was feeling,” says singer/lyricist James Graham of THE TWILIGHT SAD’s deeply resonant sixth album. On their first record in seven years, Scotland’s post-punk outfit return with a story to share: a cogent story of loss and personal crisis, rooted in specific experience yet mounted with a palpable emotional power that feels universal. Set to urgent and guitar-rich arrangements from bandmate Andy MacFarlane, IT’S THE LONG GOODBYE reflects on James’s mother’s illness, her subsequent death and his own mental health struggles, exploring profound human vulnerability with tenderness and tempestuous force.

The result is the most personal yet relatable album to date from a band whose portraits of bruised humanity have forged close ties with their audience. As James says, “In the past I’ve used a lot of metaphors within my lyrics. With this, there’s not as much. The record is heavily influenced by my mental health, grief and loss, and the need to be strong in positions where you’re not feeling it. It’s a very human story, I think – this is just my version of it. I feel that everybody goes through something like this. Everybody loses somebody. Everybody questions life.”

Back in 2016, James and Andy returned from the “pinch yourself” high of a tour with The Cure to find that James’s mother had been diagnosed with early onset frontotemporal dementia. Roughly 80 per cent of the record was written as James wrestled with the contrast between the joys in his life – marriage, parenthood – and the cruelty of his mother’s decline. In November 2023, another tour with The Cure was brought to a necessary halt as his mental health deteriorated. “And then my mum passed away in the January afterwards,” says James.

The record was developed over seven years, with the London-based MacFarlane stockpiling musical ideas during lockdown while exchanging words and sounds with Graham. The Cure’s Robert Smith, by now a longtime close friend of the band, provided invaluable input on the demos and guested on the record, supplying extra guitars on ‘WAITING FOR THE PHONE CALL’, guitars/“Tron keys” on ‘DEAD FLOWERS’ and six-string bass on ‘BACK TO FOURTEEN’. “Then we had to piece together a band,” says Andy, with THE TWILIGHT SAD now centred on him and James after former bandmates were drawn away by life commitments. Sometime Arab Strap player David Jeans and Mogwai live team-member Alex Mackay play drums and bass respectively, while the album was produced by MacFarlane at Willesden’s Battery Studios – a location rich in cherished Cure history, notably – with additional production from Andy Savours (My Bloody Valentine) and mixing by Chris Coady (Slowdive).

The result is a pinnacle for THE TWILIGHT SAD in a career of tremendous integrity and artistry, and a record that honours the band’s ability to turn lived experience into fully felt music. “To know that I’m saying things that connect with other people, that’s such a powerful thing,” says James. “I want to be a relatable person that talks about things that can happen and give an opportunity for people to go, well, you’re not alone. I want people to be able to listen to this record and hear that it comes from a place of raw emotion. The album is an opportunity to share my experience and move forward with my life.”

The Twilight Sad will be on tour in the UK and Europe in April and May including a performance at the Roundhouse in London. The band also recently announced news of a second Glasgow Barrowland show in early May. This will be followed by a handful of dates performing as special guests to The Cure in June & July.

THE TWILIGHT SAD headline shows:

Sun 12 April – Italy, Milan, Legend Club

Tues 14 April – Switzerland, Zurich, Bogen F

Weds 15 April – Germany, Munich, Ampere

Thurs 16 April – Germany, Berlin, Gretchen

Sat 18 April – Denmark, Copenhagen, Loppen

Sun 19 April – Norway, Oslo, Parkteateret

Mon 20 April – Sweden, Stockholm, Slaktkyrkan

Weds 22 April – Germany, Hamburg, Grünspan

Thurs 23 April – Netherlands, Utrecht, Tivolivredenburg Pandora Hall

Sat 25 April – Germany, Cologne, Gebäude 9

Sun 26 April – Belgium, Brussels, Rotonde – Botanique

Mon 27 April – France, Paris, Le Trabendo

Weds 29 April – UK, Bristol, Electric

Thurs 30 April – UK, London, Roundhouse

Sat 2 May – UK, Manchester, New Century Hall

Sun 3 May – UK, Newcastle-upon-Tyne, Boiler Shop

Tues 5 May – Scotland, Glasgow, Barrowlands

Weds 6 May – Scotland, Glasgow, Barrowlands

Sat 9 May – Ireland, Dublin, Button Factory

24th-26th July – UK, Deer Shed Festival

Live dates with The Cure:

Sun 14 June – Italy, Firenze, Visarno Arena

Weds 24 June – Cardiff, Blackweir Fields

Fri 26 June – Dublin, Marley Park

Sun 28 June – Belfast, Belsonic

Weds 8 July – Slovakia, Pohoda Festival

Fri 10 July – Germany, Berlin, Wuhlheide

Sat 11 July – Germany, Berlin, Wuhlheide

Sun 12 July – Germany, Berlin, Wuhlheide

IT’S THE LONG GOODBYE – album artwork & tracklist:

1. Get Away From It All

2. Designed To Lose

3. Attempt A Crash Landing – Theme

4. Waiting For The Phone Call

5. The Ceiling Underground

6. Dead Flowers

7. Inhospitable/Hospital

8. Chest Wound To The Chest

9. Back To Fourteen

10.TV People Still Throwing TVs At People

Nearly 45 years since their formation, and 25 years on from their exaltant reunion in 2000 – CHAMELEONS – are ecstatic to announce a new run of shows for later this year. 

The Middleton post/punk band’s second major tour in as many years, the announcement follows a triumphant series of UK performances that saw them play some of the UK’s biggest and most iconic spaces last December, including a night at the O2 Shepherd’s Bush Empire. 

And in 2025, Mark Burgess and the band will be expanding their horizons with 8 shows locked-in nationwide throughout November.

Kicking off at Southampton’s 1865 on 13th November, the cult band will also be visiting Bristol, Birmingham, Nottingham, Glasgow, Liverpool, and London’s infamous Electric Ballroom. I

In London and Manchester, Chameleons will be joined by very special guests Kirk Brandon (Theatre of Hate, Spear of Destiny) aKoustiK featuring Sam Sansbury on cello, who will be playing a career-spanning set.

As is now customary, the tour will also see the return of Chameleons’ legendary pre-Christmas homecoming show ‘HOME IS WHERE THE HEART IS… 2025’. Planning a very special night for what will be the 11th Anniversary in this series of shows, the band will headline Manchester’s salubrious Albert Hall venue once again on 21st November.

Chameleons spent 2024 recording and releasing new music, sharing their new live album, ‘Return of the Roughnecks (Live at The Ritz)’, and a new EP titled ‘Tomorrow Remember Yesterday’. This year, they will release their highly anticipated new album, Arctic Moon, which will mark their first full-length studio record in over two decades. 

The Chameleons’ live band for these dates will feature Mark Burgess (bass / vox), Reg Smithies (guitar), Todd Demma (drums), Danny Ashbury (keyboards), and Stephen Rice (guitar).  With an incendiary setlist already in mind, expect a broad, career-spanning collection of classics plus new material from their forthcoming album ‘Arctic Moon’ (due out on Metropolis Records later this year).

With additional very special guests for Manchester and London still to be announced, support for the entire tour is confirmed to come from: The Veldt. Emerging in the 1980s, the North Carolina shoegaze soul heroes carved out a distinct niche within the first wave of shoegaze bands worldwide. With their music a mesmerizing blend of ethereal atmospheres, sultry melodies, and irresistible rhythms, they established themselves as a standout presence in the genre. Collaborating with an array of influential artists across their career, including TV On The Radio, Mos Def, and Lady Miss Kier (Deee-Lite), The Veldt released their magnum opus in 1994: ‘Afrodisiac’; a record that has since been ranked as one of Pitchfork’s “Top 50 Shoegaze Albums Ever Released”.

Italian shoegaze band Mondaze will tour the UK and Europe in the next couple of weeks. 

Sat 01 Nov – Cafe Kino – Bristol, UK – TICKETS

Sun 02 Nov – The Lab – Northampton, UK – TICKETS

Mon 03 Nov – The Hug and Pint – Glasgow, UK – TICKETS

Tue 04 Nov – Heartbreakers – Southampton, UK – TICKETS

Thu 06 Nov – Le Pub – Newport, UK – TICKETS

Fri 07 Nov – Justines – Margate, UK – TICKETS

Sat 08 Nov – Strongroom – London, UK – TICKETS 

Mon 10 Nov – Le Local Bar – Strasbourg, France – INFO

Wed 12 Nov – Carousel – Heidelberg, Germany – TICKETS

Their latest album ‘Linger’ was released a year ago, and it delves deep into themes of memory and loss, resistance and rebirth. It presents a dualism, balancing the delicate beauty of ethereal melodies with the intense power of a wall of sound. This back-and-forth builds and tears down emotional landscapes and mindscapes alike. If shoegaze stands for anything in the annals of indie music, it’s the sonic expression of a state of “uncomfortable numbness”—a form of escape from reality, hidden beneath layers of distorted guitars and distant vocals. It’s a sound that more effectively encapsulates the discomforts of ultramodern life than any statement could. While mainstream music moves towards hyper-produced pop and ever-grander spectacles, shoegaze has become the preferred voice for younger generations who feel adrift, with few points of reference.  

LISTEN TO ‘LINGER’ HERE 

Since forming in 2018, Mondaze have defined themselves as “heavy shoegaze,” taking inspiration from bands like genre-giants Swervedriver and Ride, but also contemporary bands that are pushing shoegaze through the limits like Nothing and Ringo Deathstarr. With ‘Linger’, they aim to amplify the melancholic tones of their frustration and rage. These sonic characteristics drove them to work with Chris Fullard (who’s collaborated with Idles and Boris) on mixing, and Maurizio Baggio (The Soft Moon, Boy Harsher) for mastering. The result is an album with roots, yet distinctly modern in its direction and sound with arrangements able to perfectly synthesise a modern approach to dreamy-eerie landscapes. Guitars in Linger are back as a centre for world-making as they foster sensations through music with refined overlaps where influences merge, expressing modern sensibility.  

“We often strive to act as rationally as possible, but inevitably end up feeling empty and numb,” the band reflects on the broader implications of their work, “This album is about contemplation,” they continue, “but there’s also an element of action, a kind of non-action that comes from the awareness gained through reflection.”  

With ‘Linger’, Mondaze return with a sound that is as powerful as it is necessary in the times we live in. There’s a strength that stems from reflection and observation. Their music taps into the deep emotions of generations unwilling to return to the “normal” of the past.

WATCH ‘LINES OF YOU’ VIDEO HERE

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