Girlband fling queer Fleetwood Mac vibes with a nineties Nottingham twist to generate emotional narrative honesty early on in the almost seven hour long show. Wilbur Soot, the Internet personality responsible for roughly thirty percent of ticket sales (judging by the high pitched live streaming his presence creates), is another early contender: imagine if Frank Turner met Damien Rice in Ikea and they felt inspired to write about the experience, and that’s the sound which drives more than a few of the crowd into a frenzy. Vundabar, however, prove to be an infinitely more interesting diversion on the road to the Front Bottoms’ set. Playful whoops abound for their eccentric, garage-tinged, cassette-deck nostalgia as their noughties quirk translates to Pixies snark. Brandon Hagen’s vocals pop like champagne corks into the crash mats of underground record shop nonchalance and picturesque bass.

“You know how it works right? Everyone’s gotta finish a bottle of champagne then we can get off the stage!” Brian Sella, vocalist from the Front Bottoms and all round party co-ordinator, yells and brandishes a bottle of champagne as he introduces the premise of Champagne Jam. True to his word, all members of the band would manage to finish their bottles before they go offstage before the end of the night. However, as it was a twenty-five song set, this would work out to be a sensible drinking speed. A minibar, complete with chairs, a barman and wandering patrons, is set up onstage, only adding to the sense of unreality that permeates their set. Sella’s narrative voice is so very separate from his speaking voice, and the stories he tells through his songs feel separate again, like urban legends or rumours from school which are repeated and repeated until they take on a life of their own. This quality makes their live sets immersive and cinematic, and you feel a personal connection through each tale as if it’s being told to you alone, a feat even more impressive considering the dedicated, wordperfect fans surrounding you. 

That bond is what powers their show. “This one’s about my dad,” Sella confesses to introduce ‘Father’, and we bounce as synthetic chimes pile up, crowdsurfing to his strummed emotional exorcism. We’re introduced to their past via ‘More Than It Hurts You’, which is ‘about where we’re from’ according to Sella, and their overwhelmingly DIY and, dare we say, folk-punk openness is a gateway to exposing their secrets and sharing them with us all. Torn between bouncing and filming, phones are stormtossed and waving wildly through the crowd though ‘Vacation Town’ as artificial trumpets rain down glittering hops. Sella almost drifts into spoken word for ‘Paris’: it’s more honest, more in character, as we focus on the drifting passage of years, while he switches to glittering auto tune amid sitar echoes. The little rituals and gestures of connection, be it a handmade doll of Sella which he proudly displays onstage, batman masks for ‘Batman’ or franticly waving during ‘Au Revoir’, are moving and shared between us and them. There’s a whole library of in-jokes which we all share. The songs in the set from latest album ‘You Are Who You Hang Out With’ like ‘Punching Bag’ are darker in tone, more simple and laden with moody reflection, and these are greeted with the same warmth as any of their peppier tunes: we love everything they offer unreservedly, and they treat us with identical joy. 

Of course, ‘Twin Mattress’ is the high-point of the show. Quiet thunder and a single spotlight introduce their most popular song. Champagne bottles finally emptied, Sella looks out over an anemone crowd waving as confetti canons blast silently-falling paper snow. His ode to the joy and pain of coming second is first in our hearts as he holds his guitar high by the neck, and lets it fall with a dull thud. It breaks in two pieces and he laughs, as enraptured by the moment as we are. It’s a fitting climax to a day of outsider tunes united by misfit experiences put to music, and we drift away as quietly as the disposable snowflakes, warmed by the glimpses we’ve had into the Front Bottoms’ world.

Kate Allvey

On the other side of the fence are supporters who believe that the only constant in this world is change.  Like all bands, The Front Bottoms can grow, evolve and use modern production methods while keeping the essence of their sound as appealing as ever. ‘You Are Who You Hang Out With’, the band’s eighth release, attempts to be the record that bridges the critical divide. With free-flowing lyrics and only a reasonable amount of production to interfere with their gawky-outsider vibe, this album will either be seen as a compromise that no one likes or a tremendous success.

Frontman Brian Sella has become a lot wiser since The Front Bottoms released ‘In Sickness & In Flames’, leading us to wonder what happened during the pandemic to break his candy heart into shards. “Why don’t you put your boxing gloves on,” pleads Sella on ‘Punching Bag’, “and punch your punching bag?”. Is he offering himself as a sacrifice to the gods of trauma-dumping, or accepting that can he can never heal the one he loves?  It’s intellectually intriguing lyrical puzzles like this which make The Front Bottoms appeal to the head as well as the heart. ‘You Are Who You Hang Out With’ is a come-of-age album, a culmination of a path out of insecurity and into adulthood. The snark on ‘Not Joking’ is biting, a comeback to someone who’s dismissed the band’s performance. While songs designed to give a middle finger to an imagined antagonist can sometimes be a touch cringey, this one adds uses string sections to turn the sarcasm into a cinematic revenge sequence. 

With Sella’s newly acquired adult mindset comes more than a little nostalgia. It feels as though they’ve revisited their old neighbourhood, or even the earlier parts of their back catalogue, and can now view what they see fondly rather than critically. The fairground rose-tinted glasses he wore when writing ‘Fake Gold’ enable him to see incidents as simple as writing your name in cement with joy, as he does in the autotune-heavy ‘Brick’. They have always had the skill of making intangible emotions, the kind that have a single word in other languages but none in English, into musical tapestries. Trying to figure out what feelings their songs evoke and what that tightening in your chest means is part of the beauty.

This is a very polished album. It shines like it’s been buffed with musical beeswax, and the addition of so many additional instruments and layers has created a richer, more nuanced sound than was present on their previous releases. This might alienate the hardcore fans who fell in love with The Front Bottoms’ scuffed authenticity, and they could see this album as the first step in a move to become a budget version of The National. While one could accuse the band of an obsession with strings and autotune though, this album is a natural evolution from their anxious starting point. They’ve grown as people since 2006 and, while their lyrics and style are still as baffling as ever, their sound has advanced too.  

For any other band, this album, packed with autobiographical vignettes and illustrated with nineties guitar, would be career-defining, but for long-time fans of The Front Bottoms it might feel unsatisfying. The quiet dignity in previous singles like ‘Twin Size Mattress’ is lacking, but no one can expect a band this introspective to remain static. The Front Bottoms are still very much worthy of devotion.

KATE ALLVEY

Images: Olly Hanks, Words: Yasmin Brown [YB] / Gemma Rogers [GR]

Despite their midday slot, Petrol Girls kicked off the day with as much energy as if they’d had a prime time slot on the main stage. The entire 30 minute set was a political statement and, regardless of whether there were 5 or 5,000 people listening, lead singer Ren Aldridge was going to say it, and she was going to say it with conviction. Topics addressed included sexual assault, consent, the ridiculousness of gender binary and, as a result of this binary, gender stereotypes. Aldridge spread these messages through her unexpectedly powerful growl – something that initially comes as a surprise, considering her petite frame – and she commanded the stage with dance moves and determined head banging. Petrol Girls brought powerful, feminist punk to the festival and kicked off the day with songs that gave you a lot to think about, simultaneously creating a surge of vivacity in the crowd that was sure to last the weekend. [YB]

The main stage then offered a completely different atmosphere, as from the moment Waterparks took to the stage it was clear to see that they had a solid fan base of people who were more than just a little excited to see them. The band played a set filled with typically American pop punk songs, interacting with the crowd and ensuring everyone was engaged from the first notes to the last – with circle pits intermittently opening up throughout the set, following the band’s encouragement. In reality though, not much encouragement was needed, leading front man Awsten Knight to comment that, “y’all can jump so fucking high”. The band took a break from the overt pop-punk to play something softer and more acoustically driven, and though Knight’s vocals wavered at this point – struggling without the support of his band – the crowd didn’t seem to mind, and it was ultimately still enjoyable. The set was outrageous amounts of fun, even for those towards the back of the crowd who weren’t too familiar with the band, highlighting their natural ability to command the stage and put on a live show. Despite their early time slot, Waterparks brought all the energy that the main stage deserves and set the bar high for the bands that were set to follow. [YB]

Throughout the early afternoon, picket signs had been spotted advertising that ‘Mantra is here’, with the time 2:30. Those that hadn’t already worked it out now picked up on the fact that this was the title of Bring Me The Horizon’s new single – and this picket sign meant a secret set, seeing BMTH’s return to the Reading and Leeds stages.

It’s been a while since Bring Me The Horizon have played any live shows, so their return has, naturally, been highly anticipated by all fans. And what a comeback it was. Despite the late notice, word had spread rapidly and the tent was completely packed out. From the moment they took to the stage for their first live performance of ‘Mantra’, to the last notes of ‘Drown’, circle pits that took up half of the arena intermittently emerged, engulfing anyone that happened to be nearby in a sea of sweat-drenched bodies. It was an insane atmosphere, and one that proved we were all ecstatic to have the Sheffield boys back. The crowd obeyed every command to sit down and jump up, to form a wall of death, and generally just go mental. If this short set was anything to go by, the next album cycle is going to be one hell of a ride, one that all BMTH’s fans should be fast to jump on. [YB]

Following Waterparks on the main stage are Brit horror punk outfit Creeper who, despite still only having one album to their name, have become firm festival favourites – due in no small part to their ability to deliver an outstanding, high energy live performance. Today is no different, as front man Will Gould bounds around the stage with pitch perfect vocals, coaxing the audience into forming pits that cause dust to fly from the dry ground in clouds. Even back towards the sound desk, feet tap and heads nod along to the upbeat riffs and singalong choruses – though with such a limited amount of material available to the band it is a set that’s becoming all too familiar to regular festival goers. The performance, though, is near flawless, and Creeper prove that they have well and truly earned their main stage slot. [GR]

The Lock Up is running around 20 minutes late by the time The Fever 333 take to the stage – a blessing for anyone rushing over from sets elsewhere (us, legging it from the main stage, for example) – with a white sheet covering the stage for the first few moments whilst a hooded figure stands, fist raised, in front. It’s an attention grabbing start from a band who are difficult to ignore and, frankly, you’d never want to – vocalist Jason Aalon Butler and guitarist Stevis Harrison treat The Lock Up tent like a playground, clambering and swinging from anything they fancy. In a lineup dominated by pop and rap, this hard-hitting, heavy set is a breath of fresh air for rock and metal fans – especially with such powerful execution. The Fever 333 may be a relatively new venture for its experienced members, but they’re already making a huge name for themselves in the scene; with emphatic performances like this, it’s easy to see why. [GR]

This year’s set was Yonaka’s second at Reading Festival, and their Festival Republic stage performance highlighted a level of confidence that only comes with having played to such a crowd before. The turn out wasn’t huge, given the early set time, but this didn’t affect the performance in the slightest. The band was engaging from the offset, encouraging the crowd to dance and sing along throughout. Front woman Theresa Jarvis took the instrumental breaks as an opportunity to show off her dance moves, before blowing us all away with her mighty and controlled vocals. Dedicating the final song, ‘Rockstar’, to “the dreamers”, Jarvis requested that we crouch down and jump up in classic festival style, as the band jumped along with us enthusiastically and without inhibition. Whether you’d previously heard of Yonaka or whether you were there out of luck, or even because you were waiting for another band, there’s no way you could have found yourself feeling anything but pure joy as you took in the scene in front of you and admired everything this band has to offer. [YB]

Australia’s Trophy Eyes take up a slot on The Lock Up only weeks after the release of third album ‘The American Dream’, and the band understandably choose to focus their half hour set on these newer tracks. From the song with 2018’s greatest key change, ‘Lavender Bay’, to the more unexpected and delicate ‘Broken’, it’s a beautifully balanced set designed to appeal to a festival crowd – though the couple of older tracks and closing number ‘You Can Count On Me’ are received by fans with rapturous joy. John Floreani’s vocals aren’t always perfect as he dances around the stage, and he’s hampered by a few technical issues, but his voice is so filled with feeling that it’s easy to overlook any minor flaws. It’s fantastic to see this hugely talented band begin to get the recognition they deserve; bigger stages are surely in their future. [GR]

The evening’s entertainment began at the Radio 1 stage with The Front Bottoms, a truly delightful folk driven band who are no strangers to the Reading and Leeds stages – although front man Brian Sella admits he can’t remember a single thing from three years ago, when they last played the festival. This set was an opportunity to make new memories, and from where the crowd was standing at least, it’s almost certain that this was going to be a set to remember. With crowd members that were there solely to see The Front Bottoms, and who sung along to every word without hesitation, this New Jersey band have clearly made a name for themselves on our side of the pond. Bringing with them a multi-talented touring band, one woman in particular frequently switched between playing the violin and the trumpet, completing the live sound and adding that little something extra to take The Front Bottoms from being good, to being really bloody excellent. The set was fun and carefree, causing the widest of grins to appear on everyone’s face, and with the setlist being made up of old favourite such as ‘Twin Sized Mattress’, newer releases such as ‘Vacation Town’, and everything in between, there was something for all fans to enjoy. Having witnessed a full-length TFB headline show before, the only criticism would be that it simply ended too soon. [YB]

Back at The Pit/Lockup stage, fans of La Dispute remained patient despite the late start and welcomed the Michigan post-hardcore band with roaring cheers. Before the first song had even drawn to a close, lead singer Jordan Drayer had made his way into the crowd, urging fans to desperately yell their favourite lyrics into the microphone on his behalf. By song two a circle pit had opened that never really closed, as audience members let the music take over. Hearing La Dispute on record, you might not immediately see how Drayer’s vocals would translate well to the live show – but when supported by his talented band, it somehow works extremely well. The tones in his voice have a way of making you feel the despair along with him, evoking an empathic response that’s difficult to control and has you fully immersed in the music. Prior to leaving the stage, Drayer showed his gratitude, blowing kisses to the audience and holding his hands together, reflecting the sentiment that was clearly floating through the crowd. [YB]

Following La Dispute’s late arrival, The Used took to the same stage 30 minutes late to a much less patient crowd than greeted their predecessors. All was forgiven, however, as soon as Bert McCracken and co. launched into ‘Take It Away’, and what followed was an intense and entertaining throwback to the early 2000s, just for the “hardcore fans”. It’s clear from their performance that The Used have been doing this for 18 years, showing no signs of nerves as McCracken launched into a Shakespeare soliloquy – requesting a circle pit to go with it, a “first at Reading”, to which they obliged without hesitation. These are guys who know exactly how to put on a show and the audience was lapping it up unquestioningly, screaming along to every song and cheering at any simple statement that came out of McCracken’s mouth (including personal favourite, “Fuck Donald Trump”). Following a weird yet wonderful cover of Sixpence None The Richer’s ‘Kiss Me’ the commands returned, as we were told that “there’s no one more excited than a little kid, so let’s all be little fucking kids again”, after which came a wall of death. Naturally. For ‘A Box Full of Sharp Objects’, the final song of the set, McCracken introduced Fever 333, who had played a set earlier in the day. It was an even more hectic end to what had already a hectic set, and ended the band’s return to the Reading stage as you would only ever expect from such a seasoned rock band. [YB]

If there’s one thing that you take away from seeing Nothing But Thieves, it’s how unbelievably beautiful front man, Conor Mason’s, vocals are. From start to finish, he never once falters, captivating everyone in the packed out Radio 1 tent with his mind blowing range. It seemed that the band were just as excited to be there as we were to have them, with Mason stating, “I’ve come down from the adrenaline rush and it makes me look like I’d snorted a fat line”. What that means, exactly, is still to be determined – but it sounded like he was really fucking happy with his current situation, and based on the crowd’s response, he had every right to be. The band opened the Radio 1 stage three years ago, making their way up the ranks rapidly, and they graciously thanked the crowd for their continued support – particularly this evening. The performance was epic in the true sense of the word, with NBT’s huge sound filling the tent and reaching far beyond its confines. This is a band made for the stage; whether it’s the louder, more energetic songs such as ‘Broken Machine’ or slower, sadder ones such as ‘Particles’, every performance is one to remember. Nothing But Thieves will surely only continue to grow, and it would be unsurprising if they’re headlining that same stage in only a few years. [YB]

Main stage headliners Fall Out Boy overlapped with NBT’s performance, but not to their detriment. Their place as festival headliner was questioned by many, but the Chicago four-piece more than proved themselves on Friday night. Their sound, once made for club gigs in back alleys, has now been adapted to perfectly suit the massive production that we were treated to, with even old favourites such as ‘Sugar, We’re Goin’ Down’, ‘Dance, Dance’, and ‘Saturday’ translating well to the giant stage – a clear sign of a band who’ve spent the past few years playing arenas worldwide. From fire shooting out of Pete Wentz’s bass guitar, to fireworks and confetti, to elaborate background visuals; Fall Out Boy’s presence as the final main stage act of the night was easily proven to be well deserved. The band interacted more than is usual for them during a live show too – prompting friends to clamber on each other’s shoulders during ‘Stay Frosty’, pushing us to “be you, do you as loud as you can,” and to not forget that “in 2018 things like this happen”, whilst looking happier than they ever have before.

A definite highlight was Patrick taking his place behind the grand piano to perform ‘Last of the Real Ones’ and ‘Save Rock and Roll’, both which – not for the first time – showed just how incredible his vocal capabilities have become. Patrick isn’t the only one who got to show off though, with guitarist Joe Trohman showcasing his skills during their cover of Michael Jackson’s ‘Beat It’. Following entertaining middle finger visuals throughout the entirety of 2008’s ‘I Don’t Care’, and three more performances of old favourites, ‘This Ain’t a Scene’, ‘Grand Theft Autumn/Where is Your Boy’, and ‘Centuries’, Wentz closed the set with words of gratitude: “You’re our favourite people and this is our favourite place to be so thanks for having us”. The band returned to the stage for a two song encore, accompanied by more elaborate fireworks – and once again proving themselves to be more than worthy of being Reading headliners in 2018. [YB]

It was always going to be tough playing at the same time as the main stage headliner, but though the Radio 1 tent was only partially full, London based Wolf Alice persisted to put on a show full of energy for the fans that showed up. Front woman Ellie Rowsell has a voice that could knock you over with the sheer force of it, her powerful screams and comparatively sweet tones impressing the crowd from start to finish. The talent that oozed from the whole band made the half filled tent even more disappointing, as they most definitely deserved more recognition for the show they put on. For the final part of the set, Rowsell encouraged the crowd to sing along with her: “it’s easy, there’s no words in the chorus. It goes something like *insert unintelligible noises here*”. Of course, it didn’t sound at all like that when the chorus finally kicked in, and what came out of her mouth was far cooler and more beautiful. In fact, Wolf Alice are just a very cool band, acting as living proof that women belong in the rock scene just as much as any guy. The entire set was fierce, and as the band bid us farewell with a cry of, “thank you so much, fucking hell”, day one had finally drawn to a close for Punktastic. And what a finale it was. [YB]

]]> https://www.punktastic.com/radar/the-front-bottoms-are-going-grey/ Fri, 16 Mar 2018 13:46:32 +0000 http://www.punktastic.com/?post_type=radar&p=213675 https://www.punktastic.com/live-reviews/live-the-front-bottoms-the-smith-street-band-brick-mortar-the-waterfront-norwich/ Fri, 02 Mar 2018 10:02:39 +0000 http://www.punktastic.com/?post_type=live-reviews&p=213559 The Front Bottoms embarked on their European tour accompanied by 2 bands that emphasises exactly why support acts are so often referred to as “warm up” acts.

With it being their first trip to the UK, American duo Brick + Mortar were previously unknown to the majority of the crowd. Yet within seconds of taking to the stage, anyone that turned up early enough to catch their set was fully engaged, unquestioningly following commands to intermittently yell, “Hey!” and to crouch and jump as the chorus kicked in. With a number of interesting costume changes, rehearsed speeches, and interesting props (such as nipple tassels and a balloon filled with feel good messages), Brick + Mortar had the entire audience off their feet, and the cold air that awaited us outside the small Norwich venue was left wholly forgotten.

While The Smith Street Band might hail from across the world in Australia, they are no strangers to Europe, having played festivals and toured with The Front Bottoms on our side of the world a number of times before. The band may have recently replaced founding drummer Chris Cowburn, but their punk driven, heartfelt tunes still had long time fans jumping and screaming the words enthusiastically, as the rest of the crowd danced and bobbed in awe of the seemingly unlimited energy front man Wil Wagner put into every note.

As the support acts were so expertly chosen, the crowd was more than ready for what The Front Bottoms were about to bring to the stage for the final performance of the evening. The lights dimmed and a roar erupted out of the darkness as the band took to the stage to the intro of ‘You Used to Say (Holy Fuck)’. It was obvious from this first song that TFB are significantly more impressive live than they are on record. That’s not to say that their recorded tracks are by any means bad, more that their live shows highlight the depth and the layers of the music that might be missed in MP3 format.

Accompanied by a multi-talented touring trumpeter and violinist, elements that – on record – appear to be electronically produced, show themselves to be created with real instruments. Brian Sella’s acoustic guitar is, for the most part, masked by synths on their latest record ‘Going Grey’, but it is a highlight of the live show, and cements the ‘folk’ label the band is so often given. These live additions immediately convey the talent that lies in each member on the tiny stage, and there isn’t a single moment throughout the 19 song setlist during which this talent falters.

It’s clear looking around that fans of The Front Bottoms are far from casual, as raised arms move desperately and in perfect time with the lyrics, unrelenting from the very first moments right up until closing song ‘Ocean’, with every word being screamed right back at the band. Often it is clear which songs fans prefer to hear live, as their energy may wane for a song or 2, only to be revived as a unanimous favourite kicks off. With The Front Bottoms though, the same levels of cheering ensued for their newer tracks such as ‘Vacation Town’ as they did for their most famous song ‘Twin Sized Mattress’ which only highlights the band’s ability to attract a passionate fanbase and to continue to impress with every album they release.

Crowd participation reached its peak midway through the set during the band’s latest single, ‘Peace Sign’, the chorus of which encourages both band members and attendees to make a “peach sign, middle finger” in the air; a cathartic outlet for anyone wishing to say ‘so long’ to someone negative they may be holding onto from their past. This moment seemed to encompass all that the band stands for, as it combines a certain bitterness and pain with their ongoing mission to spread positivity.

This positivity shone on the crowd like a light in the form of Brian Sella’s unwavering grin, and resonated from the front to the back of the venue throughout the entire night. The Front Bottoms may have one of the most innocently crude band names in mainstream music today, but they radiate sincerity, gratitude and earnestness through both their music and their performance, well deserving of their loyal existing fanbase and ever increasing popularity.

The song is taken from the Aussie punks’ fourth album, ‘More Scared of You Than You Are of Me’, which was released last month on Specialist Subject Records (UK), Uncle M Music (EU), SideOneDummy Records (US) and Pool House Records (AUS).

The band have also shared their recent live session at Little Elephant in Toldeo, OH, where they perform the songs ‘Forrest’, ‘Birthdays’, and ‘Sigourney Weaver’, as well as a cover of Nirvana’s ‘Territorial Pissings’. You can check this out below.

You can catch The Smith Street Band at the following UK/Ireland shows with The Front Bottoms and Brick + Mortar.

FEBRUARY
09 MANCHESTER The Albert Hall
10 GLASGOW Barrowland Ballroom
11 NEWCASTLE O2 Academy
13 DUBLIN, IRE Vicar Street
14 BELFAST Mandela Hall
16 SHEFFIELD O2 Academy
17 NOTTINGHAM Rock City
24 PORTSMOUTH The Pyramids Centre
25 NORWICH The Waterfront
26 BIRMINGHAM O2 Institute
27 BRISTOL O2 Academy
28 LONDON Roundhouse

It is taken from their new album ‘Going Grey’, which was released last week on Fueled by Ramen.

The band have also announced that they will be playing the following UK/Ireland shows with The Smith Street Band and Brick + Mortar early next year.

FEBRUARY
09 MANCHESTER The Albert Hall
10 GLASGOW Barrowland Ballroom
11 NEWCASTLE O2 Academy
13 DUBLIN, IRE Vicar Street
14 BELFAST Mandela Hall
16 SHEFFIELD O2 Academy
17 NOTTINGHAM Rock City
24 PORTSMOUTH The Pyramids Centre
25 NORWICH The Waterfront
26 BIRMINGHAM O2 Institute
27 BRISTOL O2 Academy
28 LONDON Roundhouse

The song is featured on their upcoming new album, ‘Going Grey’, which will be released on the 13th October via Fueled by Ramen.

The band have also announced that they will be playing the following UK/Ireland shows with The Smith Street Band and Brick + Mortar early next year.

FEBRUARY
09 MANCHESTER The Albert Hall
10 GLASGOW Barrowland Ballroom
11 NEWCASTLE O2 Academy
13 DUBLIN, IRE Vicar Street
14 BELFAST Mandela Hall
16 SHEFFIELD O2 Academy
17 NOTTINGHAM Rock City
24 PORTSMOUTH The Pyramids Centre
25 NORWICH The Waterfront
26 BIRMINGHAM O2 Institute
27 BRISTOL O2 Academy
28 LONDON Roundhouse

The record will be released on the 13th October via Fueled by Ramen, with pre-orders being released on the 8th September. The band have also premiered a video for the first single, ‘Raining’, at The Fader, which you can view below.