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This October, Ministry of Sound celebrates 34 years of club culture in London with New York house pioneer Armand Van Helden. The four-room celebration will feature rising stars Olive F, Paisley Jensen, with more names to be announced.
Already one of the most recognisable institutions in electronic music, the South London club remains a leader in nightlife with continued dedication to the many clubbers who have walked through its doors over the last 30 years.
“We’re excited to welcome house music legend Armand Van Helden to the helm, alongside Olive F and Paisley, as we celebrate 34 years of the Club. It’s been a pivotal year for us, collaborating with incredible brands and launching our No Velvet Rope Society, a fresh take on the VIP experience. And we’re just getting started. Big plans are already in motion for 2026: we’ll be raising the bar for dance floors across the UK with a refurbishment of the iconic Box room and expanding our global presence.” – Matt Long, Club Director.
2025 began with the launch of three new in-house brands: Smoove, which is all about UKG, funky and R&B, URGE, a stripped-back tech house night featuring the likes of Matthias Tanzmann, Cuartero, Blondi, Brisotti, and Disco Daddy, which has welcomed the likes of Derrick Carter, Dimitri From Paris more.
Over the summer, Ministry tackled a major renovation of its new NVR space, the first of its kind in over a decade, transforming the space into an open mezzanine overlooking the iconic Box and its renowned Martin Audio sound system. The new membership concept No Velvet Rope, aims to reimagine VIP for a new generation of music lovers at the club.
Building on this, the Ministry introduced a sober raving concept in response to evolving nightlife habits, featuring a curated mocktail menu, low-alcohol beers, and CBD serves. Andrijauskaitė
The momentum continued in April, with the now-infamous Toilet takeover in partnership with Lab54, an unannounced rave in the women’s toilets that went viral, amassing over 20 million views on socials.
With more than three decades already behind them, Ministry of Sound is gearing up for a monumental 35th anniversary in 2026. It’s a rare milestone these days with so many pressures on all fronts, so big plans are already in motion, so keep your eyes peeled.
Pre-sale sold out in record time with over 70% selling out in advance. Ministry of Sound is now down to the last remaining tickets for the 34th Birthday, and they can be purchased here.
Ministry of Sound
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When REVOLVER, which is by every metric the world’s top heavy rock magazine, ran a comprehensive survey of music fans and critics, in search of the 5 Greatest Live Band Of All Time, the results were decisive, clear and overwhelming. Beating the likes of: Metallica, Iron Maiden, Tool and Pantera to the summit was THE DILLINGER ESCAPE PLAN at Number One!
‘’1. THE DILLINGER ESCAPE PLAN: When it comes to irreverent, no-holds-barred onstage antics, none did it better, or more boldly, than spazzcore innovators The Dillinger Escape Plan. Throwing sanity, restraint, common sense and the band members’ own personal safety to the wind, the quintet approached each show as its own unique, arcane ritual, baptizing audiences with blood, sweat and chaos. No one ever left a Dillinger show without a memory — and possibly even a scar — to treasure for life, and a story to shock, astound and horrify disbelieving friends and family with. DEP bid fans farewell at the end of 2017, as possibly the world’s last truly dangerous rock band.”
Following an 8-year hiatus, THE DILLINGER ESCAPE PLAN returns for a very limited number of live shows to commemorate their groundbreaking album Calculating Infinity and so much more.
For those who have before witnessed THE DILLINGER ESCAPE PLAN live, we already know that you will be there. For those who have not, life has given you a second chance. Grasp it with gratitude!
Joining them are U.S. Industrial Hardcore Meets Punk Rap Sonic Disruptors, H09909
When Calculating Infinity was released via Relapse Records, it didn’t just shake up the underground—it rewrote the rulebook. Its songs were short but densely packed, like punk songs played with conservatory-level chops. Tracks like ‘43% Burnt’ and ‘Sugar Coated Sour’ didn’t follow traditional verse-chorus structures—they erupted, recoiled, and exploded again without warning.
The album was hailed immediately for its technical prowess, intensity, and innovation. Rolling Stone later named it one of the “100 Greatest Metal Albums of All Time,” while Pitchfork credited it with pushing the boundaries of what extreme music could be. At a time when nu-metal was dominating the mainstream, Dillinger offered a complex, confrontational alternative that influenced bands from Between the Buried and Me, Code Orange, Rolo Tomassi, Converge, Every Time I Die, Architects to The Callous Daoboys.
Calculating Infinity was the only full-length release to feature original frontman Dimitri Minakakis. His performance on the album was raw, visceral, and unhinged—a perfect match for the band’s frenzied instrumentation.
Minakakis left the band in 2001, pivoting to a successful career in design. But in 2024, he rejoined the fold for a sold-out run of Calculating Infinity anniversary shows in Brooklyn, marking the first time the album had been performed in full by the original voice. The chemistry, according to fans and the band alike, was electric.
“This is something we never thought would happen,” guitarist and founding member Ben Weinman said. “But it’s not about a comeback or a cash grab. It’s about reconnecting with something that still means everything to us—and to our fans.”
The Dillinger Escape Plan are not just a band—they are a movement. They challenged what heavy music could be and inspired others to push boundaries instead of follow formulas. That’s why they’re considered one of the most influential bands in modern extreme music.
Calculating Infinity remains a benchmark of technical ferocity and emotional urgency—an album that not only birthed a genre but also tested its boundaries. The 2025 Australian shows, with Minakakis front and centre, aren’t just concerts—they’re historical punctuations: proof that 25 years later, this music still devastates, inspires and unites.
THE DILLINGER ESCAPE PLAN August 2025 Australian Tour Dates
Sunday 10th August PERTH, Metropolis Fremantle
Tuesday 12th August ADELAIDE, The Gov
Wednesday 13th August MELBOURNE, Northcote Theatre – SOLD OUT
Thursday 14th August MELBOURNE, Northcote Theatre – New Show
Saturday 16th August SYDNEY, The Enmore
Sunday 17th August BRISBANE, The Tivoli
TICKETS ON SALE NOW FROM: https://thephoenix.au/the-dillinger-escape-plan/
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At just 19, Ginevra Ramos is already proving herself as one of the most electrifying names in the new wave of European electronic artists. Her latest single, “Energy”, released August 1 via fan-powered label Fankee, is a confident and infectious track that reflects her evolution from child performer to a fully-fledged artist with a sound and vision all her own.
Born in Milan and raised in Ibiza, Ramos channels the island’s kinetic spirit into her music, blending slick production with dynamic vocal work and DJ instincts. “Energy” lives up to its name—it’s high-octane, polished, and unmistakably club-ready. It’s not just a song, but a statement: bold, modern, and bursting with youthful urgency.
The release also underscores Ramos’s partnership with Fankee, a community-driven label that redefines what it means to be a fan. Here, listeners aren’t passive consumers—they’re collaborators, promoters, and stakeholders. It’s a fresh approach to music distribution that mirrors Ginevra’s boundary-pushing ethos.
While “Energy” is rooted in Ramos’s love for electronic music, it’s her hybrid identity—as both a powerhouse vocalist and genre-fluid producer—that gives the track its edge. It’s a track designed not only for dancefloors, but also for driving change in how artists connect with their audiences.
With performances already under her belt at major festivals like the Ibiza Global Festival and the International Music Summit, Ginevra Ramos is clearly not here to play it safe. “Energy” is her most confident release yet—and a promise of even bigger things to come.
New York’s John Beckmann isn’t one to play it safe, and on French Summer, his latest as The Mortal Prophets, he doesn’t just bend genre—he melts it. Spanning eighteen tracks, this LP is less an album and more a lucid dream built from analog whispers, vintage European cinema, and slow-burning electronica.
The presence of Anais de Nerval is key to the album’s allure. Her voice drifts in and out like memory—sensual, ghostlike, and just out of reach. It’s less about lyrics and more about atmosphere. Every phrase she utters feels like it’s been lifted from a Godard film and filtered through cigarette smoke and static. She doesn’t anchor these tracks—she haunts them.
Beckmann, meanwhile, shows a rare kind of restraint. Known for his boundary-pushing sound collages, he’s pared things back here. Gone is the chaotic density of some of his earlier work. In its place: minimal yet lush arrangements, delicate strings, and synths that shimmer like sunlight on a wine glass. There’s a tactile quality to it all—beats that thump like a distant nightclub, textures that wrap around you like silk sheets in a coastal hotel room.
There’s a cinematic flow to French Summer, and it’s easy to imagine it as a film in itself. One without a plot, but heavy on mood—think long drives through Provence, empty streets at dawn, and lovers speaking in hushed tones. There are nods to Gainsbourg, whispers of disco noir, and even ambient soundscapes that feel ripped from some alternate universe. But despite the references, French Summer never dips into imitation. It’s evocative rather than referential.
Still, this is not a record for passive listening. It doesn’t beg for your attention—it seduces it. The pacing is deliberate, the textures subtle, and the emotional payoff requires patience. But for those willing to sit still and let it wash over them, there’s something genuinely transportive here.
French Summer feels like it was made for twilight hours and private moments. It’s luxurious but not loud, nostalgic but not kitsch, romantic but never obvious. In an era of instant gratification, The Mortal Prophets ask you to slow down, and for that alone, Beckmann and de Nerval deserve your time.
If you’re after something intimate, immersive, and just a little strange—French Summer might be your next obsession.
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Steph Clifford’s new single Cocoon is a slow-burning, soul-baring introduction to her debut album of the same name—an intimate, emotionally charged track that captures the ache of letting go and the quiet resilience it takes to start again. With lyrics that feel like pages torn from a journal, Cocoon explores the liminal space between endings and rebirth—where grief, hope, and clarity all coexist.
Produced by Leon Power (City and Colour, Frazey Ford) and recorded at Vancouver’s Afterlife Studios with John Raham, Cocoon is sonically rich yet spacious, layering warm guitar tones, ambient textures, and Clifford’s luminous vocals into a song that lingers long after it ends. It’s the kind of track that doesn’t demand attention—it gently holds it, drawing the listener in with quiet intensity and emotional precision.
Both deeply personal and universally felt, Cocoon sets the stage for Clifford’s forthcoming album, out summer 2025—a collection shaped by solitude, transformation, and the power of staying soft in a hard world. With this single, she isn’t just introducing a record—she’s opening the door to an honest, vulnerable, and beautifully human listening experience.
Trevor Kidd, the genre-blending artist from Victoria, BC, is back with a powerful new single called “Sunshine.” Known for his work as a singer, songwriter, producer, and musician, Kidd has built a career marked by high-profile collaborations and national acclaim. From recording with members of Billy Talent and Sum 41 to performing live with Canadian legends Randy Bachman and Tal Bachman, his resume is stacked. He’s opened for April Wine, appeared on CBC’s Dragons’ Den, and even caught the attention of Hollywood actor Eric Roberts and Runaways frontwoman Cherie Currie. With six songs spun on commercial radio—including CBC—and a growing fanbase, Kidd’s ability to make big, bold rock music that resonates is undeniable.
“Sunshine” marks a thrilling new chapter in Kidd’s musical journey. This time, he’s teamed up with Garry Beers of INXS and Jeff Martin from Canadian rock heavyweights The Tea Party, bringing together a powerhouse trio of rock sensibilities. The single follows the success of “Salvation,” a 2022 hard rock banger co-created with Josh Jones that went on to win 13 international film festival awards and earned a spot on IMDB as an award-winning music video. With “Sunshine,” Kidd leans into soaring melodies and gritty guitars, delivering a track that feels both fresh and timeless—an anthemic reminder that his creative spark is burning brighter than ever.
“Just Groove” kicks off with this raw defiance — like you’re dancing through burnout. What was going through your mind when you first wrote it?
I was thinking about how you can be exhausted but still refuse to stop moving. “Grooving” here isn’t just dancing — it’s survival. It’s saying, I might be running on fumes, but I’m still going to find the beat and make it mine. That raw defiance came from wanting to turn fatigue into fuel, to move through burnout with rhythm instead of collapse.
You’ve said this track came from exhaustion. Was there a specific moment or breaking point that made you say, “Screw this, I’m going to make music”?
Yes — a night where I’d been stuck between political deadlines and corporate calls, both sides draining me. I realised I’d spent years helping others tell their stories — governments, brands — and almost none telling my own. That night, instead of another report, I wrote the first groove. It was messy, imperfect, but it was mine.
The song blends pop, rock, electro, and gospel — it’s not an obvious mix, but it works. How do you approach fusing such different sounds without losing the groove?
I treat music like a passport. Brazilian maracatu percussion for the heartbeat, the raw edge of deep house for grit, the brightness of pop to pull people in, and the call-and-response power of Afro-gospel for uplift. Each has its own history and weight. I just make sure the groove is the glue — so no matter where the sound comes from, it’s all part of the same journey.
Your album Think Pink dives into themes like feminism, softness, and emotional survival — especially for men. That’s not something you hear often in pop or electro. What made you want to go there?
Because softness is political. In a world where men are still taught to armour up, being vulnerable is radical. I’ve worked in politics — I’ve seen how systems reward dominance and punish empathy. In Think Pink, feminism isn’t just about women’s liberation, it’s about freeing men from those cages too. It’s softness as survival.
You describe the album as a continuation of your sci-fi saga, The Cosmic Mirror Theory. Can you tell us a bit more about this astronaut’s journey — and how it connects to your own?
The astronaut dismantles the old fairy tales before stealing a ship to find the Pink Moon. It’s both an escape and a confrontation. My own journey was similar — breaking away from political and corporate scripts I didn’t believe in, looking for a place where love, truth, and equality could exist without compromise. Space is my metaphor for that search.
You’ve lived a bit of a double life — from Chief of Staff in corporate strategy to full-time artist. Do you ever feel like those two worlds still collide in your work?
Every day. My corporate past taught me discipline and structure; my artistic life taught me chaos and flow. The tension between the two is a good engine — just like in life, where we’re all trying to balance work, passions, and private moments. I don’t see them as separate worlds anymore, more like two planets orbiting the same sun.
There’s a sense of irony in your lyrics, like you’re poking fun at the system while dancing through it. Is humor one of your creative tools, or does it just slip in naturally?
It’s both. Humor disarms. You can slide truth into a groove more easily if it makes people smile first. I learned in politics that if you can’t laugh at the absurdity of the system, it will crush you. In my songs, irony is a way to resist without turning bitter.
You speak and write in multiple languages — English, French, Spanish, Portuguese. How do you decide which language a song needs? Do the words lead the vibe, or the other way around?
It’s always the emotion first. Sometimes saudade in Portuguese carries a depth no other word can; sometimes English hits with precision; sometimes French gives a sharper edge. Travelling and collecting rhythms means I’m also collecting vocabularies. The song chooses its own language — I just listen.
If “Just Groove” is the moment of rebellion, what’s the moment of healing on Think Pink? Is there a track that feels like coming home?
Yes — The Pink Moon. If Just Groove is me saying “I won’t break,” The Pink Moon is me saying “I’m ready to land.” It’s where the fight softens, where you can breathe again. It’s not a perfect ending — more like a safe harbour before the next storm.
What does the Pink Moon mean to you now? Is it still a symbol, or has it become something real in your life?
It started as a symbol — the ultimate destination, the emotional gravity pulling the astronaut forward. Now, it’s also real. It’s love, it’s equality, it’s a way of living where softness and strength aren’t opposites. It’s not a place you arrive at once; it’s something you keep choosing, every day.
The Out Seer is what happens when a bunch of music-school misfits turn late-night jam sessions into something bigger than they ever expected. The band first found their groove at Selkirk College in the Kootenays, then planted roots in Vancouver’s indie scene—where their blend of alt-rock grit and emotional depth really started to bloom.
They’ve always had that rare combo of serious chops and raw chemistry, but with the release of their new album Changes, it feels like everything has clicked into place. The record is a bold, expansive leap forward—moody, melodic, and full of the tension and release they’ve become known for. Gritty guitars, brooding synths, and soaring harmonies weave together into a sound that’s unmistakably theirs. Adding keys opened up a whole new sonic world, and Changes makes it clear: there’s no going back.
Based out of Apricot Music Studios in the Greater Vancouver Area, The Out Seer is constantly in motion—tracking in the studio, hitting the stage, and winning over crowds across BC, from Okanagan road trips to festival sets. With Changes, they’re not just making noise—they’re making a mark.
Icelandic artist Brynja Rán makes a statement with Seven—a dreamy, brass-soaked, genre-fluid EP that boldly steps beyond the bounds of typical pop. Across four standout tracks, Brynja flexes her artistic muscles with a fearless fusion of sound, shimmering vocals, and a distinct sonic identity that’s entirely her own.
Opening with “None of You”, Brynja sets the tone with a lush and cinematic pop moment. Think a little Björk, a little Garbage, and flashes of Pulp, but with a horn-laced twist that nods sweetly to the ’60s—à la Nancy Sinatra. Her voice floats, soars, and punches through the arrangement at all the right moments, while layers of instrumentation offer new discoveries with every spin.
Next up is “Fool For A Lie,” a track dripping in brass and cheek. The energy is infectious, with hints of Lily Allen’s wit and Corinne Bailey Rae’s breezy soul. It’s undeniably radio-ready, but it doesn’t pander—it celebrates pop with purpose. The groove builds and blooms into something joyous, polished, and effortless.
Then comes the wild card—“Bastard.” Funky, fierce, and deliciously left-of-centre, this track captures Brynja at her most unfiltered. If you love the raw lyricism of Fiona Apple or the emotional theatricality of Tori Amos, this one’s for you. It’s a vibe shift in the best way—unexpected, unapologetic, and full of character.
Closing out the project is “Lullaby,” the official single and a clear standout. There’s a sultry, jazz-tinged undercurrent paired with Sade-esque smoothness, but it’s the Santana-inspired guitar licks that truly elevate it. It’s soulful, chilled, and utterly intoxicating—a final flourish that ties the EP together with a bow.
With Seven, Brynja Rán doesn’t just show range—she builds an entire world. It’s dreamy pop at its most imaginative, packed with emotional texture and a voice that refuses to be boxed in. Each track pulls from different corners of her influence, but the result is uniquely hers—fresh, fearless, and worth every second. We’ll be keeping a close eye on what Brynja does next.
I’VE TRIED EVERYTHING BUT THERAPY TOUR – OCTOBER 2025
With 12 huge arena shows locked in across Australia and New Zealand this October, global chart-topper Teddy Swims just keeps getting bigger.
The ‘Lose Control’ hitmaker is fresh from setting a new US chart record – his international smash becoming the first song in Billboard Hot 100 history to spend 100 consecutive weeks on the chart. Now deep into the North American leg of his I’ve Tried Everything But Therapy Tour, Swims is hitting milestone after milestone – including two sold-out hometown shows in Atlanta and a tour finale in Honolulu – before heading down under.
Today, Swims is thrilled to announce ARIA Award-winning artist Matt Corby as very special guest for his Australian dates.
Matt Corby is a musical perennial. Three immaculate albums into an original music journey, with no end in sight. Matt first broke through back in 2011 with the bruising ballad ‘Brother’ – a song whose enduring appeal was proven again with its #51 appearance on last week’s triple j ‘Hottest 100 Australian Songs’ of all time. In his career, Matt’s confidence as a songwriter, lyricist, and record producer has grown to match his vocal mastery. Fans can expect new music in 2025.
Says Corby:
“I’m such a fan of Teddy. I first heard ‘Lose Control’ on the radio while driving from the airport to a show, was completely floored by his vocal chops and the soul in his sound. I’ve been hooked ever since. We first met at his Sydney show last year: Teddy came up, gave me a big hug, and told me he’d been listening to my music since high school, which just blew my mind. After his set, we hung out, talked music, and joked about starting a boy band one day. Being invited to join him on this run of shows is a real honour. I can’t wait!”
With final tickets selling fast, this powerhouse pairing of Teddy Swims and Matt Corby is not to be missed. Two once-in-a-generation voices. One unforgettable night.
Matt Corby – Souls A’Fire (Live At The Fonda)
TEDDY SWIMS
+ special guest Matt Corby (AU shows)
I’VE TRIED EVERYTHING BUT THERAPY TOUR
AUSTRALIA & NEW ZEALAND
OCTOBER 2025
FINAL TICKETS ON SALE NOW
via frontiertouring.com/teddyswims
ALL SHOWS LICENSED ALL AGES
Tuesday 7 October
Wolfbrook Arena | Christchurch, NZ
ticketmaster.co.nz
Thursday 9 October
Spark Arena | Auckland, NZ
ticketmaster.co.nz
Tuesday 14 October
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Wednesday 15 October
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Thursday 16 October
Qudos Bank Arena | Sydney, NSW
ticketek.com.au
Saturday 18 October
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Sunday 19 October
Brisbane Entertainment Centre | Brisbane, QLD
ticketek.com.au
Wednesday 22 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Thursday 23 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Friday 24 October
Rod Laver Arena | Melbourne, VIC
ticketek.com.au
Monday 27 October
Adelaide Entertainment Centre Arena | Adelaide, SA
ticketek.com.au
Wednesday 29 October
RAC Arena | Perth, WA
ticketek.com.au
Patrons are advised to purchase tickets only through authorised ticket sellers.
We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
FOLLOW TEDDY SWIMS:
Website | Facebook | TikTok | Twitter/X | Instagram | Spotify | YouTube | Apple Music
Photo: Tim Cotton
Having spent the last two years touring consistently through Aotearoa and beyond with their unbeatable brand of dynamic indie-rock music, NO CIGAR now embrace the release of their much-anticipated new project – album number three, Under The Surface.
An album jampacked with songs that speak to the band’s elevated chemistry as songwriters and performers, Under The Surface plucks at fresh sonic influences while driving home NO CIGAR’s curiosity for pushing themselves into new creative directions.
Featuring popular tracks including ‘Clean’, ‘Chantilly’, and ‘Best Behaviour’, Under The Surface provides the listener with multiple moments to lose themselves in. For fans of NO CIGAR who have been lucky enough to see the five-piece perform across the last year and a half, the kinetic energy woven through their live performances will recognise that same energy within the DNA of this album. For newcomers, consider Under The Surface as the perfect jump off point in discovering more about one of Aotearoa’s most exciting exports.
“Music is our escapism, it’s where we squeeze the poison, sucked from the wounds of love, life and pain. As songwriters, and for me as a lyricist, getting to open up in a place that feels safe, with the boys, feels cathartic in a way nothing else can. Like many people, I struggle to speak candidly with anyone about what haunts me most. Letting it out can feel like pushing a mouthful of emotions through a pinhole; therefore, I choose my words carefully, so as to leave no venom on the tongue.” NO CIGAR
Created at Auckland’s renowned Roundhead Studios, Under The Surface shines in the way the music incorporates new flavours (‘Merci Merci’, ‘Cherry Blossom Girl’), while also letting the personality of the songwriting take prominence. NO CIGAR’s music to date has spoken to the band’s natural talents as artists – a savvy knack of knowing how to build a sonic space that the listener gravitates towards with ease.
Under The Surface takes the lessons and experiences from recent years, particularly since the release of their last album – 2023’s The Great Escape – and distills them here into twelve tracks of fun, thoughtful and engaging music.
“Just as we’ve grown as people in the last few years since our first album, so too has the music. We never set out to make music that is ‘heavier’ or ‘softer’; we just find the time to lock ourselves away from the world, get comfortable, and open the floodgates. The way the heavier tones in the album balance nicely with softer numbers make for our most dynamic album to date. NO CIGAR like you’ve never seen it before.” NO CIGAR
The release of Under The Surface comes off the back of sold out tours across the UK and Aotearoa, with NO CIGAR’s impressive back catalogue continuing to resonate with increasingly large audiences in global markets – Australasia, Europe, North America and the UK.
To celebrate the release of Under The Surface, NO CIGAR will be touring Australia and New Zealand this October and November.
“We’re coming home Aussie (it feels like it anyway – we know you’ll claim us as your own some day). It’s been a minute. We love you, and can’t wait to share our brand new album with you. Prove to us why Aussie crowds are the best in the world. We’ll bring the noise, you bring the energy. Vise versa.” NO CIGAR
NO CIGAR AUSTRALIA / NZ TOUR DATES
Thursday 23 October Mo’s Desert Clubhouse Gold Coast
Friday 24 October The Brightside Brisbane
Saturday 25 October Lansdowne Hotel Sydney SOLD OUT
Sunday 26 October Stag & Hunter Newcastle
Wednesday 29 October Lansdowne Sydney NEW SHOW
Thursday 30 October Amplifier Perth
Friday 31 October Torquay Hotel Torquay NEW SHOW
Saturday 1 November Night Cat Melbourne
“Each performance is a journey guaranteed to envelop you in romanticism, to the ever-evolving backdrop of a thumping sonic experience. With elements of alternative, folk, and indie rock, they also utilise groove-based rhythms with psychedelic undertones to keep your feet moving & your shoulders rolling.”
TWICE THE HYPE
“No Cigar has noticeably little banter, and are mostly here to play their music, which they do very well. The crowd was wild and some people climb onto their friends’ shoulders to see over the rowdy room full of music lovers. Anyone who’s not on someone else’s should is awkwardly pressed together as the venue was clearly at capacity, if not over”
13TH FLOOR
NO CIGAR: OFFICIAL WEBSITE | FACEBOOK | INSTAGRAM | YOUTUBE | TIK TOK