Andrew McMahon (ex-Jack's Mannequin) concert review: Santa Ana, Calif.

photo by Kelly A. Swift

A version of my review originally appeared at:
http://www.ocregister.com/entertainment/mcmahon-500886-jack-band.html 

“A lot of my history is in this room; I’m happy to share it with you,” said Andrew McMahon, from the Observatory stage, referring to the venue’s previous incarnation as the Galaxy Theatre.

It was here where a teenage McMahon (pictured, left) and his Dana Point alt-rock band Something Corporate made early demo CD, Ready…Break, in 2000.

Now that McMahon’s other band Jack’s Mannequin has ended, the singer/pianist is performing and recording under his own name. A short opening jaunt with fun. commenced earlier this year; another one with O.A.R. starts in June (no SoCal dates though).

A feather in the career cap comes next week when the NBC-TV series “Smash” will find cast members performing the McMahon-penned “I Heard Your Voice in a Dream.” His new EP is slated for release on April 30.

While past Jack’s Mannequin tours often included a few SoCo songs, this solo tour finds him taking a more balanced approach, giving both sides of the career equal footing. 

Backed by a solid five-piece band (including Jack’s Mannequin drummer Jay McMillan and bassist Mike Wagner) in Santa Ana, Thursday’s sold out, 80-minute show started with McMahon alone on his brown Baldwin piano during compelling new ballad “No Man is an Island.”

photo by Kelly A. Swift

Then the wildly enthusiastic fans howled in appreciation upon the opening notes of “The Mixed Tape.” Following it with “Straw Dog,” provided a powerful 1-2 punch. 

McMahon hadn’t played his hometown area in quite awhile (Jack's Mannequin did a pair of farewell gigs in LA last year for his Dear Jack Foundation) and frequently admitted it was good to be back in Orange County. 

“Learn to Dance,” the second new tune debuted, boasted an upbeat poppy sound, complete with handclaps, synthesizer and prominent percussion.

Another strong EP preview track was “Synesthesia” (loosely defined as an unusual perception of color or sound), featuring celestial lyrics and a dense, spacey synth bed played by four of the musicians.

Some older selections contained noticeably fuller arrangements, especially “Bruised,” “Amy, I” and “Punk Rock Princess,” where McMahon stood on the piano and briefly ventured into the crowd (organ, psychedelic guitar and smooth backing vocals by four of the guys were welcome additions). 

“This song plugged me back into the world,” shared McMahon about the stirring “Swim,” partially inspired by his battle with Leukemia and subsequent stem cell transplant. Later, the vitriolic “If You C Jordan” was prefaced by a funny story about the time where he practically lived at the Galaxy while recording Ready…Break and attending his high school prom there. 
 

photo by Kelly A. Swift

Come encore time, McMahon did the emotional epic “Konstantine” alone until the band slowly joined in and he appended a quick line from Annie Lennox’s “Why.”

Seattle rock trio Barcelona - which put out major label album Absolutes in 2009 and just self-released the follow up Not Quite Yours - definitely impressed at Observatory with a 35-minute opening set that recalled Keane at times.

Front man Brian Fennell possessed a self-deprecating sense of humor and rich voice, best exemplified during the soulful "On & Off," a tender "Less Than Two" and a measured cover of Tracy Chapman's "Fast Car," done with airy keyboards and heavenly vocals.

Erland launched the night's proceedings on a rustic note. Originally hailing from Dana Point, but now based in Santa Barbara, the enticing alt-folk quartet did a half hour performance culled from the McMahon produced EP "All I've Got" and album On Our Side. Reminscent of Guster, Counting Crows and a little Mumford & Sons, the harmonica-infused "Ain't Worth the Fight" and a good take on Bob Dylan's "The Times They Are A Changing" were highlights.

Setlist: Andrew McMahon at the Observatory 
Main set: No Man is an Island/The Mixed Tape/Straw Dog/Television/Learn to Dance/Holiday from Real/Me and the Moon/Amy, I/Punk Rock Princess/Swim/I Woke Up in a Car/The Resolution/Bruised/Synesthesia/Dark Blue/If You C Jordan 
Encore: Konstantine/La La Lie

Wales' JP Jones makes solo debut in April

JP aka JP Jones formerly of UK pop group Grace and JP, Chrissie and the Fairground Boys (a collaborative effort with then romantic interest Chrissie Hynde), is gearing up for the release of his first solo effort Son of Jack.

Produced by Victor Van Vugt (Nick Cave’s Grinderman), it is a lush, soulful love letter to his Welsh hometown on the eve of a homecoming. Special guest Hynde appears on the wistful track “Fancy Man.”

JP will perform solo opening for The Proclaimers soon (dates below). Son of Jack will be released on 429 Records on April 9.

Born in Cardiff, Wales, JP has funneled his deep love of his home, family and the loss of his father into his first solo endeavor. The palpable sense of longing is conveyed in a both contemplative and effusive manner over the course of thirteen evocative compositions.

Says JP “I feel so proud to release my first solo record in honour of my father Jack. Making the album has been an up and down journey mixed with the madness, sadness and the good times. An experience I’ll never forget and shall cherish forever.”
 
Track Listing:

1) Hands on Heart
2) Big Heart
3) The Reason
4) Home
5) Fancy Man (with Chrissie Hynde)
6) Joy
7) Jackson
8) Rooks Cawed Rawly
9) Portobello
10) Kathy
11) The Black Side
12) Tulips
13) Mice & Spiders

Confirmed U.S. Dates (w/ The Proclaimers):

4/11 Brooklyn, NY Bell House
4/12 New York, NY City Winery SOLD OUT
4/13 Natick , MA The Center for the Arts Natick
4/15 Philadelphia, PA Tin Angel
4/16 Alexandria, Va Birchmere
4/18 Cleveland, OH Beachland Ballroom
4/19 Ann Arbor, MI The Ark
4/20 Chicago, IL City Winery
4/22 Minneapolis, MN Varsity Theatre
4/23 Seattle, WA Tractor Tavern
4/24 Portland, OR Mississippi Studios
4/26 San Francisco, CA Great American Music Hall
4/27 Santa Monica, CA McCabe’s SOLD OUT
4/28 San Diego, CA Anthology

To view JP's Video for "The Reason"
http://www.youtube.com/watch?v=QTiw_dOGgNI&list=UUJweH7Tgtb_1Fe6XLGP8S0g&index=3

Dawes tour dates and other activities

photo by Noah Abrams

LA rock quartet Dawes have announced additional tour dates for 2013.

After recently wrapping up a trip to Rwanda where the band helped the U.N. charity Nothing But Nets raise awareness and funds to protect refugee families from malaria, Dawes are currently on the road touring a number of independent record stores across America, performing songs off their Jacquire King-produced, Stories Don't End (April 9, HUB Records).

Immediately following the current tour, Dawes will support Bob Dylan (see below). Dawes also launched FromAWindowSeat.net, an interactive photo web site that allows the band's fans and friends across the globe to connect and share in each other's lives by posting photos from a window seat and using the hashtag #fromawindowseat.

Follow Dawes on Twitter (@dawestheband), on Instagram (@dawestheband), or visit http://fromawindowseat.net to view these photos and to see the band's rotating set of favorite shots.

The concept for the Web site is taken from the name of the band's first single off Stories Don't End, "From A Window Seat," which will be performed on Jimmy Kimmel Live on Thursday, May 16.

While the city of Los Angeles has been both an inspiration and a home to the four members of Dawes - Taylor Goldsmith (lead vocals, guitar), Wylie Gelber (bass), Tay Strathairn (keyboard), Griffin Goldsmith (drums, vocals) - they found themselves traveling East last fall to record their third album in the Blue Ridge Mountains of North Carolina.

Tour dates

MARCH

20 - Nashville, TN - Grimey's

21 - Baltimore, MD - Sound Garden

27 - Portland, ME - Bull Moose

28 - Burlington, VT - Pure Pop

29 - Jay, VT - Foeger Ballroom at Jay Peak Resort

APRIL

02 - Minneapolis, MN - Electric Fetus

05 - Buffalo, NY - SUNY Buffalo - Alumni Arena *

06 - Amherst, MA - University of Massachusetts - Mullins Center *

07 - Knoxville, TN - Rhythm & Blooms

08 - Kingston, RI - University of Rhode Island - Ryan Center *

09 - Lowell, MA - University of Massachusetts - Tsongas Center *

10 - Lewiston, ME - Androscoggin Bank Colisée *

12 - Newark, DE - University of Delaware - Bob Carpenter Center *

13 - California, PA - California University - Convocation Center *

14 - Ithaca, NY - Cornell University - Barton Hall *

16 - Richmond, VA - Landmark Theatre *

18 - Bethlehem, PA - Lehigh University - Stabler Arena *

19 - Akron, OH - The University of Akron - EJ Thomas Hall *

20 - Kalamazoo, MI - Wings Stadium *

21 - Bowling Green, OH - Bowling Green State University - Stroh Center *

23 - St. Louis, MO - Peabody Opera House *

24 - Springfield, MO - Missouri State University - JQH Arena *

25 - Champaign, IL - University of Illinois - Assembly Hall *

26 - Seattle, WA - Showbox at the Market

28 - Portland, OR - Crystal Ballroom

30 - Asheville, NC - U.S. Cellular Center*

MAY

01 - Charlotte, NC - Time Warner Cable Uptown Amphitheatre *

02 - Raleigh, NC - Red Hat Amphitheater *

04 - Charleston, SC - Family Circle Magazine Stadium *

05 - St. Augustine, FL - St. Augustine Amphitheatre *

24 - Bellevue, CO - Mishawaka Amphitheatre

26 - Englewood, CO - Gothic Theatre

31 - Austin, TX - Tower Amphitheater (supporting The Avett Brothers and Grace Potter & The Nocturnals)

JUNE

01 - Dallas, TX - KXT Summer Cut (w/ The Avett Brothers, Grace Potter & The Nocturnals, Hayes Carll, Matt & Kim, Milo Greene)

02 - Houston, TX - Free Press Summer Fest

04 - New Orleans, LA - Tipitina's #

05 - Mobile, AL - Alabama Music Box #

07 - Atlanta, GA - Buckhead Theatre

08 - Birmingham, AL - Sloss Furnace (supporting Alabama Shakes) **SOLD OUT**

09 - Nashville, TN - Ryman Auditorium #

14 - Newport, KY - Southgate House #

15 - Royal Oak, MI - Royal Oak Music Music Theater #

16 - Columbus, OH - The Bluestone #

19 - Washington, DC - 9:30 Club

22 - New York, NY - Terminal 5 #

JULY

05 - Ottawa, ON - Ottawa Blues Festival

06 - Toronto, ON - Toronto Urban Roots Fest

10 - Minneapolis, MN - First Avenue #

12 - Madison, WI - Barrymore Theatre #

13 - Louisville, KY - Forecastle Festival

14 - Iowa City, IA - Englert Theatre #

16 - Memphis, TN - Minglewood Hall #

17 - Little Rock, AR - Revolution Music Room #

20 - Indianapolis, IN - The Vogue #

23 - Baltimore, MD - Ram's Head #

24 - Port Chester, NY - Capitol Theatre #

* = supporting Bob Dylan

# = Shovels & Rope supporting

Stephen Kellogg news

Can't wait to hear this. I interview Kellogg for his 2009 CD "The Bear," which was one of my favorites of that year... 

“The title comes from the boyhood home of my favorite character in my favorite book, David Copperfield,” says singer/songwriter Stephen Kellogg of his new album Blunderstone Rookery.

Like the Charles Dickens’ novel, Kellogg’s album is a largely autobiographical collection of serials, seen through the eyes of a very observant protagonist.

Set for release on June 18 on Elm City Music, Blunderstone Rookery is Kellogg’s third solo album, and first since his critically-acclaimed band The Sixers took a break last Fall.

“In November of 2012, my band of the last 10 years decided to take a hiatus,” he explains. “We performed our final show at Webster Hall in New York City for three hours and said goodbye for now. 2012 also took with it my mother-in-law and my grandmother, Most of this happened in late Spring, when my house was under renovation. The foundation was still there, but the house was literally ripped apart. Some metaphor, huh? The musical result of this tumultuous period is Blunderstone Rookery.”

The album kicks off with the acoustic lilt of “Lost and Found” about the eternal search for identity, and traipses to the lo-fi tonk of “The Brain Is A Beautiful Thing”, to the tender piano ballad “I Don’t Want To Die On The Road”, to the warm melody of the first single “Crosses”. The first-released track “Thanksgiving”, is a contemplative song and the video can be seen here: http://usat.ly/XBU9RF

Prior to the release of the album, Kellogg will kick off a national solo acoustic tour in listening rooms across the USA, starting in Northampton, MA on April 25 and moving right into the release of the record in June (tour dates below).

Produced by Kellogg and and his longtime musical collaborator Kit Karlson, Blunderstone Rookery was mixed by Mike Mogis (Bright Eyes, Monsters of Folk) and mastered by Bob Ludwig.

It was recorded in his current hometown of Bridgeport, CT, because, as he says, “after making the last few in Los Angeles and New York, I really wanted to work on home turf.” Continuing on the very personal tone of the record, he recruited a number of his friends including Travis McNabb and Annie Clements of Sugarland, Sean Watkins of Nickel Creek, Jerry DePizzo from O.A.R.

“I loved working on Blunderstone Rookery more than I’ve ever album I’ve ever made and it’s my ninth studio effort,” he says proudly. “It was a fresh process – one that began with the exciting notion, ‘what if I say exactly what I want to say’ and ended with me handing my father a vinyl copy to add to his record collection.” Blunderstone Rookery began with and ends with family, not unlike David Copperfield.

TOUR DATES 

Apr 25 - Iron Horse - Northampton, MA (w/ The Alternate Routes)

Apr 30 - Mucky Duck - Houston, TX (w/ The Alternate Routes)
May 01 - Cactus Cafe - Austin, TX (w/ The Alternate Routes)
May 03 - Club Dada - Dallas, TX (w/ The Alternate Routes)
May 04 - Soiled Dove - Denver, CO (w/ The Alternate Routes)
May 05 - eTown Hall - Boulder, CO (w/ The Alternate Routes)
May 08 - Kilby Court - Salt Lake City, UT (w/ Rebecca Pidgeon)
May 10 - Coconino Center for the Arts - Flagstaff, AZ (w/ Rebecca Pidgeon)
May 11 - Lestats - San Diego, CA (w/ Rebecca Pidgeon)
May 12 - Hotel Cafe - Los Angeles, CA (w/ Rebecca Pidgeon)
May 14 - Freight and Salvage - San Francisco, CA (w/ Rebecca Pidgeon)
May 17 - Mississippi Studios - Portland, OR (w/ Rebecca Pidgeon)
May 18 - The Royal Room - Seattle, WA (w/ Rebecca Pidgeon)
May 19 - The Railway Club - Vancouver, BC (w/ Rebecca Pidgeon)
May 30 - Dakota - Minneapolis, MN (w/ Milow)
May 31 - The Frequency - Madison, WI (w/ Milow)
Jun 01 - Seven Steps Up - Spring Lake, MI (w/ Milow)
Jun 02 - Space - Evanston, IL (w/ Milow)
Jun 03 - Flying Mango - Des Moines, IA (w/ Milow)
Jun 05 - Red Cat Cafe - Birmingham, AL (w/ Milow)
Jun 06 - Eddie's Attic - Decatur, GA (w/ Milow)
Jun 07 - Evening Muse - Charlotte, NC (w/ Milow)
Jun 08 - Ashland Coffee Company - Ashland, VA (w/ Milow)
Jun 10 - Jammin Java - Vienna, VA (w/ Seth Glier)
Jun 11 - Tin Angel - Philadelphia, PA (w/ Seth Glier)
Jun 13 - New Hope Winery - New Hope, PA (w/ Seth Glier)
Jun 14 - Rockwood Music Hall - New York, NY (w/ Seth Glier)
Jun 15 - Linda Norris - Albany, NY (w/ Seth Glier)

Interview with The Mavericks

A version of my interview originally appeared at:
http://www.ocregister.com/entertainment/mavericks-500820-reynolds-music.html 

I caught a recent show in San Juan Capistrano and it was one of the best I've seen so far this year. Be sure to check out this can't miss tour! See below for SoCal concert details and the official web site for full routing...

With all the modern technology at musicians’ disposal today, authenticity often falls to the wayside during the recording process. 

That wasn’t a problem for Grammy-winning Americana band The Mavericks, which has reunited and released excellent album, “In Time” (Valory Music Co.) after an eight-year absence.

“Not to set us apart from other talented people, but we don’t have to manufacture our sound. It comes out of us,” says guitarist Robert Reynolds, from a tour stop in Santa Fe, NM.

“When we hit the live stage, people are blown away and say, ‘they sound incredible!’ It’s almost like they didn’t expect you could. When you haven’t faked your sound, it’s really not voodoo or black magic; it’s just performing.”

Last April, those who attended Stagecoach in Indio saw firsthand how The Mavericks haven’t missed a step. Augmented by four other musicians, the nine-piece concert ensemble performed a vibrant evening set in the Palomino tent and ended up being one of the country music festival standouts.

According to Reynolds, using an expanded lineup was necessary to do the new songs justice.

“Anything short of that becomes less than the desired effect. Are we adaptable? Yes. Are the songs still fun in a [smaller] arrangement? Yeah. But to give folks this album in a manner that feels like the night of music we want to share? Absolutely.”

Now Orange County fans finally get to experience The Mavericks’ eclectic mélange of countrypolitan, Tejano, rock ‘n’ roll and much more at a sold out Coach House on Saturday.

“There are places in the country where we seem to have a real symbiotic relationship; something very mutual between us and the fans. They make it easy to enjoy what we’re doing.

“You might think a travelling musician would say that about any audience, but it’s not always the case,” continues Reynolds. “To be honest, Southern California … [has] become very special. We have gaping holes [around America] where we still fight hard to earn our little place. California has always been a rewarding area for us.”

The early reception for “In Time” – preceded by 2012 taster EP “Suited up and Ready” - has been equally fruitful. The acclaimed collection (with a score of 86 on review aggregator site, Metacritic) reached No. 8 on Billboard’s Country Albums chart – The Mavericks’ best placing in 15 years.

“I’m a founding member of this group and I’ve seen the peaks and valleys,” notes Reynolds, 50. “We might be at an apex; the real summit here. I’ve had big years with this thing and I know what they look like.”

The Mavericks were formed in Miami by Reynolds and drummer Paul Deakin in the late Eighties. The pair recruited Cuban-American singer/guitarist Raul Malo and another guitarist before releasing an independent CD in 1990. Major label bow “From Hell to Paradise” followed in ’92.

Two years later, they found a wider audience via platinum-certified disc “What a Crying Shame” and four top 30 country hits (plus a fine cover of Bruce Springsteen’s “All That Heaven Will Allow”).

Gold seller “Music for All Occasions” spawned a Grammy and an even biggest track: the top 15 duet with Flaco Jimenez, “All You Ever Do is Bring Me Down.” By decade’s end, The Mavericks had also amassed a handful of major country music awards.

Before the group eventually called it quits in ‘04, Reynolds started Swag with Mavericks keyboardist Jerry Dale McFadden, Cheap Trick’s Tom Petersson, Ken Coomer of Wilco and Doug Powell. They put out the power pop-leaning CD “Catchall” in 2001 (additionally, Reynolds co-wrote tracks with Petersson on Cheap Trick’s 1997 and ’01 efforts). Meanwhile, Malo released six well-regarded solo albums throughout the 2000s.

“In Time” was co-produced by Malo and Niko Bolas (known for work with another iconoclast artist, Neil Young). The guys entered the studio without doing demos. What resulted was a more spontaneous process, “tons of shaping and arranging that could happen in the moment. Even in some cases, letting Raul finish lyrics on the spot or overnight...The main thing was we didn’t go in with pre-conceived notions about anything. That was highly rewarding.”

Some songs were even recorded live, Malo’s ad libs left intact.

“To us, that is where the highest energy comes from,” Reynolds says. “If someone wanted to know how The Mavericks achieve a certain truthful energy on the record, it’s that we’re performing not too differently than we would at night onstage.”

Among several new album highlights are “Come Unto Me” (a Latin shuffle with wicked electric guitar work by fifth member Eddie Perez), some retro party rock in “As Long as There’s Loving Tonight,” lovely sparse ballad “Amsterdam Moon” (a showcase for Malo’s glorious Roy Orbison-esque pipes) and the ebb ‘n’ flow dynamic of closing epic “Call Me When You Get to Heaven” (featuring gospel music’s The McCrary Sisters on backing vocals).

The band took a jam band approach on the latter bolero and did it as a vamp to find a groove. “We wanted to be naturally transcended by the emotion of the song.”

Although Reynolds was involved in other music projects before the band resumed, he realized during the long break that “playing Mavericks songs with the Mavericks is almost undefinable by any other measure.” Not doing them again for an audience “while we’re still able-bodied, but not willing” would be crazy.

“What I think being back together represents is having the knowledge that it only takes a willingness on our part to work well together. If we do that, all the music falls into place.” 

The Mavericks perform Saturday at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, sold out; March 25 at the Belly Up Tavern, 143 S. Cedros Ave., Solana Beach, sold out; March 26 at the El Rey Theatre, 5515 Wilshire Blvd., Los Angeles, $30; March 27 at the McCallum Theatre, 73000 Fred Waring Drive, Palm Desert, $25-$35. All shows 8 p.m., with Seth Walker opening.

themavericksband.com

Kenny Rogers to perform in Solana Beach; biography out now

With Kenny Rogers making a concert appearance tomorrow at the Belly Up Tavern in San Diego County (see details below), I thought it would be a good time to recap his autobiography that came out last fall… 

Kenny Rogers
Luck or Something Like It
(Available from William Morrow: hardcover, $27.99, 287 pages;
HarperLuxe: paperback, 416 pages; Amazon: Kindle) 

After 20 years of being asked about penning his memoir, Rogers - one of country music’s biggest stars during the 1970s and ‘80s – finally relented. Luck or Something Like It is an entertaining and fairly brisk read.

The musician (yes, he’s not just a singer) starts off with an anecdote about his mother Lucille being confused about the meaning behind one of his signature songs and how the label didn’t think it was hit material due to the unusual subject matter.

Rogers discusses growing up poor in Houston with an alcoholic father and honestly reflects on his four previous marriages, at one point writing: “I thought, ‘there’s a fine line between being driven and being selfish.’ I may have crossed that line.”

Some people might be surprised to learn that Rogers first got on “American Bandstand” with his early band The Scholars instead of later prominent hit makers like New Christy Minstrels or The First Edition. And Rogers met many TV and music stars of the era while honing his vocal and bass guitar chops with jazz band Bobby Doyle Three.

Always a great storyteller in song, Rogers relays several interesting anecdotes here too, such as:

Becoming casual friends with Elvis Presley when both did a series of shows in different sections of the Las Vegas Hilton.

How deciding to cover Mel Tillis’ “Ruby (Don’t Take Your Love to Town)” was somewhat risky, but he still followed that with equally controversial – for the time period - First Edition pop hits like “Reuben James” and “Something’s Burning.”

Rogers delves into his mid-1970s career crossroads, when he traveled to Pakistan to tour for oil field workers on behalf of Aramco Oil to make ends meet. Later in the book, he uses good natured humor and poignancy to relate other career touchstones: hit duets with Dottie West and Kim Carnes.

Of the latter, he admits: “We both sounded like we were hemorrhaging when we sang hard. As hard as it is to believe, that was appealing. I’ve always felt that I sang so much better in duets than I do by myself” and likens the process to a sprint.

Then there are briefly mentions about forays into acting (“The Gambler” series, “Coward of County,” “Six Pack”), striking unlikely music gold with Lionel Richie, Barry Gibb and Dolly Parton, the “We Are the World”/USA for Africa project.

Of the relationship with Parton, his most famous duet partner, Rogers writes: “Nothing prepared me for working with Dolly…when [she] comes marching out onstage, you might as well stand back.”

Passing references are made toward the ’93 phone sex mini scandal, meeting much younger wife Wanda and getting married again in 1997, then fathering twins at age 65.

I would’ve liked to read more details about recording, albums and tours during his solo superstar period. Still, Luck or Something Like It is recommended for both diehard fans and the curious alike. 

Kenny Rogers, 8 p.m. March 21, Belly Up Tavern, 143 S. Cedros Ave., Solana Beach, $98, www.bellyup.com.

Return of The Stranglers

This cool news just came through my inbox, read on...

 

The Stranglers are the last true survivors and most highly revered and original British bands to emerge from the late '70s punk scene.

 

If the Sex Pistols were the iconic British punk band of the late seventies, The Stranglers were a real reflection of what was going on whilst being the most commercially successful without any compromise.

 

Four decades, 17 albums, and 24 Top 40 hit singles later, the four-piece originally from Guildford, are making a welcomed return to North America for the first time in 20 years and will be releasing their new studio album Giants, on May 28 (All My People & Fontana/INGrooves).

 

Their legacy has not only inspired countless bands across the globe, but they are also one of the longest standing, continuously successful and original bands of our time, thanks to their dedicated international fan base, a knack for writing killer signature songs, and an undeniable ability to deliver top rated live performances.

 

The return to North America is an opportunity to see one of the few British bands that still reflect so much of what that iconic period was really about.

 

In 1977 the Stranglers released their debut album Rattus Norvegicus and established themselves as the world’s first progressive punk outlaws. Seminal long players like No More Heroes and Black and White followed before the band released live album Live (X Cert). 

 

Later that year The Stranglers surprised and surpassed all expectations by releasing the gentler more evocative album The Raven and it is that album’s legacy that’s left its mark on latter-day Stranglers recordings.

With the forthcoming release of Giants, and their single "Mercury Rising" out now and available as a free download in the US, fans and newcomers have the chance to experience and enjoy new material that remains true to the classic Stranglers sound.

 

“The band are currently on a creative and performing high and are really up for a visit to both the US and Canada.” says Jean-Jacques “JJ” Burnel, the man responsible for the band’s signature overdriven bass sound.

 

Their upcoming tour will take them across the US for a brief run. Tickets go on sale March 22.

 

The Stranglers in 2013 are JJ Burnel (bass and lead vocals), Dave Greenfield (keyboards) Baz Warne (guitar and lead vocals) and Jet Black (drums).

 

NORTH AMERICAN TOUR DATES

 

5/30 – Majestic – Detroit, MI
5/31 – Danforth Music Hall – Toronto, ON
6/01 – Telus Theatre – Montreal, QC
6/03 – Highline Ballroom – New York, NY
6/04 – Brighton Music Hall – Boston, MA
6/05 – Union Transfer – Philadelphia, PA
6/07 – Cobra Lounge – Chicago, IL
6/09 – Iron & Ink Festival – Long Beach, CA
 

MORE DATES TBA