Glen Hansard reveals new video for ‘I’ll Be You, Be Me’


His new album ‘This Wild WIlling’ will also be out April 12th via Anti-Records.

Glen Hansard has revealed the video for lead single ‘I’ll Be You, Be Me’ from ‘This Wild Willing’, his fourth full-length album.

The album is, according to PR, said to ‘Marry the sonic inventiveness of the best of his work in The Frames with the discipline he’s found as a songwriter and lyricist in his solo career.’

In the new video for ‘I’ll Be You, Be Me’, Hansard recruits an assortment of collaborators to feature including James Thiérrée, the grandson of Charlie Chaplin.

Watch video for ‘I’ll Be You, Be Me’ now

Hansard will also be touring between March and May of this year.

Full list of European tour dates:
7th March – Amsterdam, Netherlands – Koninklijk Theater Carré SOLD OUT
8th March – Hamburg, Germany – Elbphilharmonie Hamburg SOLD OUT
9th April – Dublin, Ireland – Vicar Street
10th April – Dublin, Ireland – Vicar Street
12th April – Derry, United Kingdom – St. Columb’s Hall
13th April – Derry, United Kingdom – St. Columb’s Hall SOLD OUT
15th April – London, United Kingdom – Barbican Centre
16th April – London, United Kingdom – Barbican Centre
27th April – Paris, France – Casino de Paris
29th April – Amsterdam, Netherlands – Koninklijk Theater Carré
30th April – Amsterdam, Netherlands – Koninklijk Theater Carré
2nd May – Copenhagen, Denmark – Amager Bio / BETA
4th May – Stockholm, Sweden – Skandiascenen
6th May – Brussels, Belgium – Cirque Royal
8th May – Cologne, Germany – Kőlner Philharmonie
9th May – Frankfurt Am Main, Germany – Alte Oper
11th May – Brno-žabovřesky, Czech Republic – 5th Anniversary of SONO Centrum
13th May – Warszawa, Poland – Palladium
14th May – Warszawa, Poland – Palladium
16th May – Berlin, Germany – Admiralspalast
17th May – Berlin, Germany – Admiralspalast
19th May – Berlin, Germany – Admiralspalast

‘This Wild Willing’ Track Listing:

  1. I’ll Be You, Be Me
  2. Don’t Settle
  3. Fools Game
  4. Race To The Bottom
  5. The Closing Door
  6. Brother’s Keeper
  7. Mary
  8. Threading Water
  9. Weight of the World
  10. Who’s Gonna Be Your Baby Now
  11. Good Life Of Song
  12. Leave A Light

For more information on Glen Hansard, visit:

Website | Facebook | Twitter | Instagram

Pre-order ‘This Wild Wiling’

 Buy tickets for EU tour here

Words by: Megan Duce

Craig Finn announces new solo album ‘I Need A New War’


‘I Need A New War’ is to be released April 26 with Partisan Records.

Partisan Records have announced the release of Craig Finn ’s new album, ‘I Need A New War’ arriving Friday, April 26th.

Finn’s fourth solo LP is the third part of a trilogy after 2015’s Faith in the Future and 2017’s ‘We All Want The Same Things’.

It was recorded throughout 2018 in New York, his home for the last 18 years and the focus of the album.

“Going in, I saw this record as the third part of a trilogy,” says Finn. “Thematically, this was the third group of songs that I had written about smaller moments – people trying to stay afloat in modern times, attempting to find connection, achieving tiny triumphs and frustrating let downs in their day to day lives.”

Perhaps best known as the singer of The Hold Steady, Craig Finn had five critically acclaimed albums with the band, with 2012 seeing his first solo album, ‘Clear Heart Full Eyes’.

Finn will be touring the UK on the following dates:

5 FEB 2019 / UK / Newcastle / Wylam Brewery*
6 FEB 2019 / UK / Edinburgh / The Queen’s Hall*
7 FEB 2019 / UK / Manchester / Albert Hall*
8 FEB 2019 / UK / London / Union Chapel*
9 FEB 2019 / UK / London / Union Chapel*
11 FEB 2019 / NL / Amsterdam / Meerwart*
12 FEB 2019 / BE / Brussels / AB Flex*
13 FEB 2019 / DE / Bochum / Christuskirche*
15 FEB 2019 / DE / Munich / Neue Theaterfabrik*
16 FEB 2019 / CH / Zurich / Dynamo*
17 FEB 2019 / IT / Milan / Santeria Social Club*
19 FEB 2019 / DE / Hamburg / Markthalle*
20 FEB 2019 / DE / Hannover / Capitol*
22 FEB 2019 / UK / Cambridge / The Junction*
23 FEB 2019 / UK / Brighton / St George’s Church*
24 FEB 2019 / UK / Bath / Komedia*
25 FEB 2019 / UK / Cardiff / Tramshed*
26 FEB 2019 / UK / Manchester / Albert Hall*
27 FEB 2019 / IE / Dublin / Academy*
8 MAR 2019 / UK / London / Electric Ballroom / The Weekender^
9 MAR 2019 / UK / London / Electric Ballroom / The Weekender^
10 MAR 2019 / UK / London / Oslo / The Weekender^

* supporting Brian Fallon
^ with The Hold Steady

I Need A New War Tracklisting:

1. Blankets

2. Magic Marker

3. A Bathtub In The Kitchen

4. Indications

5. Grant At Galena

6. Something To Hope For

7. Carmen Isn’t Coming In Today

8. Holyoke

9. Her With The Blues

10. Anne Marie & Shane

Fans can pre-order I Need A New War in physical and digital formats here ( All orders through Finn’s D2C store include a bonus digital EP featuring five b-sides from the album. Other items exclusive to the store include: a one of a kind, signed hardcover lyric book (featuring lyrics to all songs from FITF, WAWTST, INANW and photos by Dan Monick), signed vinyl, an enamel pin set, and more.

Craig Finn: Website | Facebook | Instagram | Twitter

Words by: Megan Duce

Singer Dwight Trible shares cosmic cover of The Beatles’ ‘Tomorrow Never Knows’


Jazz vocalist – Dwight Trible has released his own version of the famous ‘Tomorrow Never Knows’ originally performed by The Beatles.

Bringing his own jazzy yet highly-cosmic twist to the famous psychedelic track, the singer has managed to make it his own, while staying somewhat true to the original song. With lots of improvisation and various instruments joining in throughout the track, it is surely a fascinating take on the song.

The artist has been part of the genre’s music scene for a while. Having forged an impressive career as an inimitable vocalist, activist as the godfather of the LA jazz scene, his version of ‘Tomorrow Never Knows’ is all the more interesting as it is known for having been one of the band’s first songs to deal with LSD so effectively.

Clash Magazine have described Tribe’s first release on Gearbox Records as “a sublime piece of music” and the jazz singer has definitely caught the attention of many Beatles fans with this.

Originally featuring on the band’s album Revolver, the track was made of unusual musical elements such as avant-garde composition and electro-acoustic sound manipulation. It also reminded us of Indian-inspired melodies in the background. It’s no wonder Dwight Trible has let his out-of-space ideas take over in this song, as the original one was already full of various inspirations and ideas.

As we discover Dwight Tribe’s improvisational and fascinating universe a little more, the artist is set to release more material during the year. However, we will have to sit tight and wait for a while, as the dates are yet to be confirmed.

Words by: Lil Bonhomme

Chlöe Howl – “23”

Music Reviews

Sectors of light reflect from disco balls nailed to the ceiling, shimmering onto the faces of optimistic teenagers at their very first prom.

As a teenager, you fantasise what it’s like to grow older and become independent, wishing away youth like an old friend you no longer wish to associate with. ’23’ sparks the realisation that adult life isn’t all its cracked up to be, and Howl completely nails it.

“Here we are at 23, always thought that we’d be somebody better,” the 23-year-old confesses over sparkly kaleidoscopic production, reminiscing old times and regretting ever wanting to grow up.

We spend our whole adolescent trying to act mature and pretending we can rely on ourselves that when the time comes to do just that we shatter with fear. It’s happened to you, it’s happened to myself and it’s happening to Chlöe Howl right now.

But we’ll figure it out one day. Here’s to our twenties.

Words: Jordan White

Insecure Men at Scala

Live Reviews, Music Reviews, Uncategorized

A dimming of lights, hush of music and a roar of the crowd indicated that Insecure Men had entered. Amongst the shadows, a determined voice yelled “Can we have some lights on the stage, so we can see what we’re doing?”

With this, a rolling green light revealed a musical extravaganza: a vibraphone, slide guitar and saxophone being amongst the many instruments they could fit onto the stage.

Buttoned up in suits and with an intense flash of blue light the nine-piece opened with ‘Cliff Has Left the Building’. Immediately, the atmosphere was cosmic, encapsulating the Californian suburbs daydream air of their recently released, self-titled album, ‘Insecure Men’.

Like wind turbines on a desolate hill, the band remained relatively stationary throughout, completely entranced in what they were doing. Meanwhile, the performance was unfaltering in visual strength, bodies in the audience swaying, hypnotised, frolicking in the paint palette of light – there were slime greens, romantic reds, marine blues and hot pinks.

In an amateur way, Insecure Men announced each of their songs: “This song is about Heathrow. It’s called Heathrow.” The childlike jig played a pivotal role in really dragging people back into reality with the uneasy chugging that slows and grinds to a halt.

Mid-way through the set, Fat White Family frontman, Lias Saoudi, slinks onto the stage with a half drunk pint in hand. The spotlight shifts and soon as the song (‘Ulster’) begins, it’s over, and he slides back off the stage, as if nothing had happened.

‘Mekong Glitter’ upped the ante as the setlist reached it’s end, stressing dirty guitar and dissonant mess on the piano during the solo. Unquestionably, the song bounced off all the walls as the whole crowd joined in unison for the chorus: “Why don’t you ever ask why? Why don’t you ever ask why?”

Closing the set, the smoke machine relentlessly huffed and puffed transporting the venue into the steamy bathroom where ‘Whitney Houston and I’ exists, leaving the audience in the ethereal haze they first stepped into.


Words by Meg Berridge


Edited by George Kennedy

Justin Currie and The Pallbearers at The Jazz Cafe

Live Reviews, Music Reviews, Uncategorized

Looking over the sea of wrinkles that was the crowd, it was clear that no one here, save the little boy playing on his parent’s or maybe even grandparent’s iPhone, was under the age of 25. A mass of pale bald scalps filled the room while the odd aroma of old spice mingled with ale, stout, and feet rose from the floorboards. The venue itself, for all of its history hosting world famous artists such as Amy Winehouse, Ben E King, Kym Mazelle, and Edwin Starr, looked completely modern.

The wooden detailing and warm ambience gives the cafe a cosy atmosphere. One thing which was a little strange to me was the first floor restaurant, which housed viewers throughout the night who ate as the performance took place, however the smell of the food could not mask the scent of middle occupants on the floor below. As the support act walked on stage the landing crowd took their places, a large number of them fought over the very few seats at the back of the room, fearing standing on their feet for an hour, while the brave ones filtered to the stage.

Les Johnson and Me opened the night, a Scottish bluegrass singer with a movingly deep soulful voice, unfortunately many of the crowd were unfamiliar with him or his work so the atmosphere suffered somewhat. An hour later the man everyone was there for took the stage. Justin Currie with his backing band The Pallbearers.

Opening with a rocking song from back in the Del Amitri days, ‘Just Like a Man’, an obvious crowd favourite from the reaction, the scintillating guitar tone mixing perfectly with the rough Glaswegian twang in Justin’s voice. A voice that hasn’t aged a day from his first record with Del Amitri back in 1985. From there they quickly rattled off the greatest hits of the Del Amitri days, ‘Be My Downfall’, ‘Move Away Jimmy Blue’, ‘Tell Her This’, and ‘Always The Last To Know’ were particularly well received by the crowd, almost all of which sang along, knowing all the words to each and every song.

After warming the crowd up with the classics he moved on to the latest songs from his new album ‘This Is My Kingdom Now’, including the title song, ‘No Surrender, and ‘Sydney Harbour Bridge’. His experience shines not only during the performance, but also in-between the songs, as the band left the stage for one of the more intimate songs he quipped “they hate the sad ones”, to a murmur of laughter “but then again, they’re all sad ones”.

Finishing with perhaps his most famous hit from the Del Amitri days, ‘Driving With The Brakes On’ was met with rapturous applause, as the crowd quickly moved moved out to catch the next train back in time for bargain hunt on BBC One.


Words by Jamie Raybould


Edited by George Kennedy

Shy FX at The Rainbow venues: Crane

Live Reviews, Music Reviews

There is a place, on Bowyer street, in the heart of Birmingham, that by daylight shows to be nothing more than a derelict building. A monument to the history of the city, it melts inconspicuously into the background, never showing its true face until the cowl of night smothers the area and the hordes of mangled, hammered and twisted creatures line up ready to be unleashed through the gates of hell (there were quite literally gates at the entrance). It was within this mob that I found myself that fateful night on the 14th of September in the year of our lord 2017, hoping not to enrage any of the beasts surrounding me who scrambled at the hiss of a Nos cracker like the call to arms of some strange serpentine monster. Soon however, the time came to release the crowd into the bowls of the abyss, known locally as the newly renovated Rainbow venues location: Crane.

As the mass stumbled clumsily down the stone steps into the warehouse, one can’t help but wonder which health and safety genius thought it a good idea to have hundreds of inebriated girls in high heels walk down a flight of steep stone steps, nevertheless the result is wildly entertaining. Once inside the venue the enormity of the space is rather disconcerting, an agoraphobic’s worst nightmare, the warehouse could easily house a Boeing 747 along with a couple of its buddies. The space soon filled up, however, and as soon as Shy FX took the stage, the crowd exploded with a paroxysm of movement, pulsating along to the tumbling beats rolling out of the huge monolithic slabs of speakers.

Starting off with the classics, ‘Original Nuttah’ bursted into the room and set the tone for the entire night, one of rapid-fire beats and machine gun MCing. Following that the old favourites return, ‘Shake ur Body’ and ‘Everyday’ excite the crowd, and interspersing his own songs with jungle remix’s of popular songs like ‘Rude Boy’ and ‘Concrete Jungle’, a song rather appropriately titled for the setting and the genre of the night. One fact quickly became apparent to everybody that was there, Shy FX was not letting up.

Track after track he kept drilling as if mining for gold, hammering down on us with heavy baselines and rolling melodies until the last song, a remix of ‘Bricks Don’t Roll’, a drum and bass classic which revived the crowd and sent them into a mass frenzy before barraging themselves through the gates into the night. Many DJ’s find themselves becoming obsolete within a few years, unable to keep up with the wants and needs of new fans, but even after 25 years since his first record Shy FX is still cemented as one of the best Jungle artists around.


Words by Jamie Raybould


Edited by George Kennedy

Live Review: The Ninth Wave

Live Reviews


It’s fair to say that the Ninth Wave aren’t quite like any other band. From their stylish gothic aesthetics to their vibrant, post-punk tinged tracks, the band haven’t put a foot wrong since their exciting shift that was solidified with the release of their debut EP ‘Reformation’ last year. It therefore doesn’t come as much of a surprise to see that everything about their London gig has been planned carefully and thoughtfully- from the unorthodox yet hugely innovative choice of venue, bringing an atmospheric show to the Sebright Arms featuring a certain degree of gothic drama.

The swelling crowd began to grow in size as they took the stage, bolstered by a notable number of faces keen to see what all the fuss is about. Brimming with brooding melodies, gothic synths and sky-high ambition, it’s the sound of a band who have certainly found their individuality. ‘Reformation’ embraces an empowering message with a deeply cathartic chorus, brought to life in such thunderous fashion.

Bringing shades of coloured lights, rapid synths glisten and ring around the venue, matched with soaring guitars and intense rhythms, alongside Haydn’s vocals that flow seamlessly. ‘Swallow Me’ sees the lipstick adorned, red gloved frontman shed his guitar and take the spotlight, every inch of him shining showmanship. Oozing confidence and vitality, the collection of songs on display reinforce their ability to lure the listener into their deliriously dark, brooding world, while simultaneously demanding attention.
Naturally, known singles ‘Liars’ and ‘Heartfelt’ provides real highlights, seeing the crowd lose all sense and jump along to its inescapable traits.

That evening confirms all our suspicions about this mysterious band. They truly are bursting with endless ambition and powerful determination to cut their own path. And with the release of newest single ‘New Kind of Ego’, plus a showcase at this years Great Escape already confirmed, the only way is up for this fiercely talented outfit. It surely won’t be long before their appeal spreads far beyond the corners of London.

Words by Lauren McDermott