On January 23, 2026, The Damned will release Not Like Everybody Else, a personal and celebratory covers album dedicated to founding guitarist Brian James, who passed away on March 6, 2025. The record was tracked in five intense days at Revolver Studio in Los Angeles, capturing a mix of emotion and creative urgency. On the album, The Damned — Dave Vanian on vocals, Captain Sensible on guitar, Rat Scabies on drums, Paul Gray on bass, and longtime keyboardist Monty Oxymoron — reconnect with the energy that defined their earliest days. Not Like Everybody Else also marks the first time in 40 years that Rat Scabies has returned to the studio with the band.

The album opens with R. Dean Taylor’s “There’s A Ghost In My House” before moving into interpretations of classics such as Pink Floyd’s “See Emily Play” and The Animals’ “When I Was Young.” It closes with a striking farewell: The Rolling Stones’ “The Last Time,” featuring Brian James himself. The performance comes from his final live appearance with The Damned at Hammersmith and has been newly remixed for this release.

To commemorate the album, The Damned will deliver a one-off covers show at Albert Hall in Manchester on January 28, 2026. The band will perform songs from Not Like Everybody Else alongside familiar covers that have shaped their career. The night is intended as a tribute to Brian James and the band’s shared history.

The second video and single, “See Emily Play,” is available to stream now. Sung by The Damned guitarist Captain Sensible, the track merges the band’s recognizable punk edge with the psychedelic character of the original.

Timed to align with The Damned’s 50th-anniversary celebrations, Not Like Everybody Else serves both as an homage and as a reflection of the resilience of one of punk’s most influential groups.

Fifty years of The Damned also marks five decades of punk itself, as the explosion of 1976 reaches its half-century milestone. The band helped spark the movement with the release of the first U.K. punk single, “New Rose”, and their debut album, Damned, Damned, Damned. Brian James wrote the first single and served as the primary songwriter on the album before leaving the group after their second record, Music For Pleasure, in 1977.

Over the years, the band built an ever-growing following through high-energy live shows, darkly thematic lyrics, and Dave Vanian’s distinctive baritone, which helped place them at the forefront of the emerging goth-rock scene.

The Damned have also confirmed a special 50th-anniversary show at OVO Arena Wembley on Saturday, April 11, 2026, honoring their five decades as one of the foundational forces in British punk rock. The celebration will feature special guests The Loveless featuring Marc Almond, Peter Hook And The Light, and The Courettes.

The post THE DAMNED Shares Cover of PINK FLOYD’s “See Emily Play” From Upcoming Album appeared first on Sonic Perspectives.

Good Day Noir Family,
An Dan’s Blood Flooded Song feels like a portal rather than a record—an invitation into a world shaped by myth, ritual, and a sense of ancient memory.

Blood Flooded Song is An Dan’s Album Out Now

The album opens with “Winter Dance,” where a fragile piano figure falls gently like snow over a silent forest.

Gradually, an angelic voice rises through the stillness, guiding the listener into a realm that feels serene and haunted. Soon, guitars enter as faint glimmers in the dark, almost like watchful eyes hidden between trees. Right away, the band establishes an aesthetic rooted in grandeur and mystery. Their Greek origins seem to echo through every note, as if the weight of centuries shapes the emotional architecture of their music.

Transitioning into “All My Loving,” the album maintains its ethereal tone while expanding its depth. The vocals here take on a hypnotic character, almost siren-like, evoking mythological traditions while reshaped with a modern sensibility. The arrangement unfolds patiently, never rushing, and this breath allows the melodies to settle into the listener’s chest. It’s a piece that balances fragility and strength with remarkable cohesion.

The title track, “Blood Flooded Song,” introduces a more forceful edge. Its rhythmic structure carries a medieval pulse, giving the impression of warriors marching through a dimly lit passageway. The track is driven by a sense of urgency, yet it never abandons the atmospheric elegance that defines the album. The interplay between male and female vocals is particularly striking, offering contrast and unity as they narrate a story that feels ancient, symbolic, and emotionally charged. Moreover, the guitars expand into broader shapes, pushing the composition into territories that border on cinematic metal.

As the album moves toward its conclusion, “There Is No Love” serves as a dramatic, almost spiritual finale. A deep male voice introduces the piece with the authority of an oracle, creating an immediate sense of ritual. When the female voice enters, the track transforms into something that feels closer to a ceremony than a song. Minimalist instrumentation supports the tension, and every phrase lands with intention. It’s a closing moment that lingers, leaving the listener with the impression of having participated in something intimate and timeless.

Across the entire album, An Dan demonstrates a rare ability to merge atmospheric metal, ancestral energy, and theatrical storytelling. Their compositions are shaped with patience, and their interplay between voices heightens the emotional dimension of each track. Blood Flooded Song does not simply present music—it shapes a narrative world and invites you to walk inside it. This is metal interpreted as myth, memory, and ritual, and it stands as one of the more fascinating releases within its genre.

Blood Flooded Song is An Dan’s Album Out Now!

Mythic!

Blood Flooded Song is An Dan’s Album Out Now

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Guns N’ Roses have returned with a pair of new singles, their first fresh material since 2023. Titled “Nothin’” and “Atlas,” the tracks highlight two contrasting sides of the band. “Atlas” captures the group’s driving, full-throttle rock sound, while “Nothin’” leans into a more reflective mood with atmospheric keys and expressive guitar work. Both songs are out now through Interscope Records.

In recent years, Guns N’ Roses have been steadily releasing new music while touring internationally to sold-out crowds. Following 2023’s releases “The General” and “Perhaps”, the new tracks “Atlas” and “Nothin’” become the latest additions to their setlists, which already blend classic hits with deep cuts from their early catalog. Beginning December 12, the two new singles will also be available for pre-order on seven-inch vinyl, a band-store-exclusive cassette, and a Japan-exclusive SHM-CD.

The band will return to the road in spring and summer 2026, with shows scheduled in Mexico and Brazil before moving into several European markets and then stadiums across the United States and Canada. This run includes a notable stop at the Rose Bowl in Los Angeles, marking their first performance at the venue in more than three decades.

The tour news follows the release of the deluxe Live Era ’87–’93 box set, a limited-edition pressing featuring remastered audio and updated artwork. Although Live Era documents Guns N’ Roses at an earlier point in their career, its arrival aligns neatly with the band’s reputation—then and now—as one of rock’s most intense live acts.

Alongside previously announced festival dates in Mexico, Brazil, and the U.K., the upcoming 31-date tour includes a European leg with stops in Poland, Ireland, the Netherlands, Germany, Belgium, and France. Guns N’ Roses will then return to North America for shows spanning the U.S. and Canada.

To this day, Guns N’ Roses remain widely regarded as one of the most impactful and uncompromising American rock bands.

The post GUNS N’ ROSES Share Their Two Latest Video Visualizer For “Nothin'” And “Atlas” appeared first on Sonic Perspectives.

Testament – Para Bellum (Album Review)

I’ve been waiting to carve out some time to write about the new Testament album, Para Bellum, and I’ve finally got it! I have a rule that I don’t review albums without listening to them at least a few times, so I needed a few days to digest it. Now that I have a much better sense of what we’re dealing with, let’s dive in.

Before we talk about the album, let’s talk about the band. Testament is, of course, one of the most experienced metal bands that is still active today. They started their career in the ‘80s, and even though they dealt with some difficult times (and Chuck dealt with some scary health problems) in the early 2000s, they managed to storm back onto the scene with the full intensity we’ve come to expect. They’ve been unstoppable ever since.

The lineup has remained relatively consistent over the years, especially compared to their peers in the genre. Eric Peterson and Chuck Billy are the stalwarts who have anchored the band for decades, writing the majority of the material. Lead guitarist Alex Skolnick, who left in the ‘90s to pursue other musical interests, returned in the early 2000s and remains a key part of the sound. Long-time bassist Steve Di Giorgio rejoined in 2014 following Greg Christian’s exit. Finally, after a long stint with Gene Hoglan (and a brief return of Dave Lombardo), the band recently recruited Chris Dovas. Para Bellum marks his recording debut with the group.

The album’s overall mix feels similar to previous releases, so I initially assumed Andy Sneap handled the production again. However, the credits show that Para Bellum was mixed by Jens Bogren. To my knowledge, this is the band’s first collaboration with Bogren, who brings a wealth of industry experience to the table. I was surprised not to see Sneap’s name, since he has manned the boards for every album since The Gathering in 1999. That said, Andy’s role with Judas Priest has expanded significantly in recent years; between touring and production commitments, it’s understandable he sat this one out. I wouldn’t say Bogren has the exact same style, but the result isn’t a drastic departure, either.

As for the songwriting, here lies the double-edged sword of modern Testament. If you are looking for consistency, Para Bellum delivers in spades. It fits perfectly alongside their output from the last two decades. But when you have a lineup this insanely talented, “consistent” can sometimes feel “safe”. Yes, there are blast beats here and there, there’s some black metal influence, and there is even a ballad, so you have some diversity which I truly appreciated as a fan. I just wish there were more curveballs to keep listeners guessing.

Having said that, even if the blueprint is familiar, the construction is flawless. Once I stopped waiting for a musical revolution and simply accepted the album for what it is, I found plenty to enjoy. The formula might be safe, but the riffs are still lethal, and the individual performances are top-tier. Let’s dig into a few of the standout tracks that prove there is plenty of life left in this machine.

For me, the best song on the album is Nature of the Beast. It sounds like late ‘80s Testament but with modern production, and you can clearly hear the NWOBHM influences. It’s less aggressive than the openers, leaning more into melody, but it is incredibly well-crafted. It serves as a good reminder that Testament can execute this style just as well as the fast thrashers. It also features a great lead section that builds up nicely and adds so much texture to the track. I know most fans want The Gathering-style intensity all the time. I get that, it’s my favorite album too! But let’s not forget this band delivered classics like Practice What You Preach and Souls of Black, which were full of melodic metal. This track is a clever nod to that era.

Room 117 is another highlight where melody meets aggression. Listening to this track, I realized just how much I’ve been missing the more melodic side of the band. It’s more straightforward than the first few cuts on the record, but that allows the riffs some breathing room to establish a serious groove. It carries that same classic heavy metal influence and goes hand-in-hand with ‘Nature of the Beast.’ These are definitely two of the strongest songs here.

While researching this article, I found an interview where Chuck Billy recalled asking Eric Peterson if these were even “metal riffs” (referring to Nature of the Beast, Room 117, and Havana Syndrome). He joked that he wasn’t sure if they belonged on a Testament album. That tells you these tracks sit a little outside the usual box. I know Chuck was just being cheeky, but rest assured, these are absolutely metal songs. I’m just glad Testament chose to include them. Testament can do melodic metal as well as, or even better than, their contemporaries. Why not explore that? It’s far more interesting than repeating the same song structure over and over.

Let’s also talk about Meant to Be, the ballad I alluded to earlier. Testament is no stranger to the power ballad, but this track stands out. While Eric Peterson dominates the album’s songwriting, this is a rare moment where lead guitarist Alex Skolnick co-wrote the music, giving it a distinct flavor. Notably, the song marks a first for the band: a proper string arrangement. We aren’t talking about keyboards or samples here; this features performances by renowned cellist Dave Eggar, who provided the arrangement along with Chuck Palmer. Testament excels at these dynamics, using distorted guitars to widen the sound while keeping the emotion intact. Some metal bands avoid slower tempos, but when done well, as it is here, it adds a crucial layer of depth to the album.

While I prefer the more melodic side of this album, there are some incredible songs that bring me back to the Gathering days. The title track, Para Bellum, has a barrage of riffs that remind you why Eric Peterson is one of the best rhythm guitarists out there (he plays quite a few leads on this record too!). If I were to pick a favorite among the heavier songs, this would be it. Great way to close out the album, too. I also loved Shadow People a lot. It’s perhaps a mid-tempo track, but definitely on the heavier side and I just love the way the riffs hit you. The mix allows the bass to shine on, too. When you hear the main riff, everything blends well together. I guess Eric was inspired by the horror movie Evil Dead Rise and wanted to compose something that sounded evil. I’d say mission accomplished!

Then you have Infanticide A.I., which is arguably the fiercest track on the record. Lyrically, it tackles the modern anxieties of artificial intelligence, but musically, it’s a showcase for their new drummer, Chris Dovas. His drumming here is relentless, driving the track with a level of ferocity that has breathed new life into the rhythm section, especially in the second half of the song.

There are great moments in the remaining tracks, too, but these are the highlights for me. I especially think very highly of Nature of the Beast and Room 117. They are likely to make a space for themselves in any Testament playlist I may put together.

It’s 2025 and Testament is alive and well! These guys know exactly what they’re doing, and Para Bellum is further proof of that fact. I’m curious to see what comes next. Maybe an album that embraces even more melody while maintaining the heaviness? A fan can dream…

Sources & Additional Reading:

Chuck Billy of Testament: “The New Album Has a Little Bit of Everything”…
Testament: All About the Band (Nuclear Blast)
TESTAMENT Unleashes Dark New Single “Shadow People” Ahead of Upcoming Album “Para Bellum”

The post Testament – Para Bellum (Album Review) appeared first on Mega-Depth.

Good Day Noir Family,
Amy-Lin Slezak returns with a track that feels emotional and fearless, and “You Don’t Believe Her” quickly proves why her voice has become such a recognizable presence in the Americana world.

You Don’t Believe Her is Amy-Lin Slezak’s Single Out Now

 The song opens with warm, roots-driven tones that set a heartfelt mood, yet it soon reveals deeper layers.

Her vocal tone combines grit and softness, creating a delivery that cuts straight through the mix and lands with genuine emotional weight.

Although the track draws influence from vintage Americana and classic folk-rock traditions, it never feels stuck in the past. Instead, Slezak uses that familiar musical language to address a painfully modern reality. Social media culture has created an environment where judgment spreads quickly, and women often become targets of disbelief and hostility. Through smart lyricism and strong phrasing, the song effectively highlights this issue without preaching, transforming personal storytelling into something universally relatable.

The chorus truly blooms. The melodies rise, the rhythm gains strength, and the arrangement opens up in a way that invites the listener to sing along. Because of its structure, the song grows naturally and maintains a steady emotional arc. Furthermore, the contrast between the verses and the chorus gives the track movement and makes the message hit harder. You can feel the frustration, yet you can also sense resilience.

The production plays a crucial role. Acoustic textures sit comfortably beside subtle electric flourishes, while the rhythm section holds everything together with confidence. Nothing feels overdone; each instrument supports the vocal line and allows the story to shine. Additionally, the mix keeps her voice front and center, emphasizing her expressive approach and letting every nuance breathe.

Moreover, Slezak’s interpretation elevates the entire piece. She doesn’t simply sing the words; she lives them. Her phrasing shifts from intimate to assertive, reflecting the emotional struggle described in the lyrics. That dynamic performance gives the song depth and authenticity.

In the end, the track stands as a strong reminder of how music can address contemporary issues with grace and artistry. Amy-Lin Slezak continues to show her ability to connect through storytelling, voice, and heartfelt expression, making this release one worth returning to.

You Don’t Believe Her is Amy-Lin Slezak’s Single Out Now!

Resonant!

You Don’t Believe Her is Amy-Lin Slezak’s Single Out Now

Amy-Lin is a classically trained performer and songwriter with a background in musical theatre and opera, holding a BM from SUNY Fredonia and an MALS from the University of Memphis Opera Program. After years on stages ranging from rural upstate New York to Broadway and opera houses, she has rediscovered her creative voice now that her children are grown.

Her music reflects a life rich with experience—blending country roots, theatrical flair, and a deep love of storytelling. Whether drawing from small-town beginnings or big-stage dreams, Amy-Lin brings honesty, heart, and a unique artistic perspective to everything she creates.

She currently lives in her hometown in upstate New York with her family, four horses, two cats, and her dog.

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– November 6th, 2025 –

The holidays are here! Starting today (November 6th, 2025) through December 31st, 2025, fans can find deep discount vinyl, box sets, CDs, Blu-ray, merch, and more at up to 80% off at the Metal Blade USA store: metalblade.indiemerch.com

This holiday sale features artists such as Amon Amarth, Behemoth, Between The Buried And Me, The Black Dahlia Murder, Cannibal Corpse, Cattle Decapitation, Cirith Ungol, Cult Of Luna, Ensiferum, GWAR, Job For A Cowboy, King Diamond, Killswitch Engage, Powerwolf, Revocation, Six Feet Under, and more. This sale is for a limited time and while supplies last, so head over to our store to pillage your copies today.

Start your shopping early this year:
metalblade.indiemerch.com

Metal Blade Records online:
https://www.metalblade.com
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https://www.twitch.tv/metalbladeofficial

Legendary metal titans Megadeth have teamed with Trafalgar Releasing for “Megadeth: Behind The Mask”, a cinematic legacy event that will debut on screens worldwide Thursday, January 22—on the eve of the release of the band’s final studio album on January 23. 

The film will screen in over 1,000 cinemas across 35+ countries. Tickets go on sale Thursday, December 11 at 6am PT / 9am ET / 2pm GMT / 3pm CET, with a trailer available for viewing on the same day. For more information and to sign up for updates, fans can visit this location.

In “Megadeth: Behind The Mask,” Dave Mustaine pulls back the curtain on 40 years of Megadeth, sharing untold stories of the band’s past and the creative fire that drives them. Interwoven throughout, audiences will get to experience the world premiere of Megadeth’s new self-titled album in full, brought to life with a 40-year retrospective career-spanning interview and Mustaine’s own track-by-track reflections about the band’s final studio album.

This one-night-only listening event will provide a first listen to this landmark project. “Megadeth: Behind The Mask, is an immersive celebration of one of the most influential bands in metal history, capturing their legacy while heralding a powerful new chapter.

“This listening event is going to be amazing,” says Mustaine. “I can’t wait to share it with thousands of my closest friends around the world. I have so much gratitude for everyone who helped bring this film to life, especially you, the fans! Now let’s fire this up… and pass the popcorn!”

 “We’re thrilled to bring fans together for an exclusive first listen to Megadeth’s final studio album—that brings their career full circle,” says Kymberli Frueh, EVP Programming and Content Acquisitions at Trafalgar Releasing. “This isn’t just another Megadeth album: it features a bold reimagining. This cinema event is a celebration of the riffs, the intensity, and the uncompromising spirit that have defined Megadeth’s legacy. We can’t wait to share this moment with the fans who’ve been with them every step of the way.”

Leading up to the album and film’s debut, Megadeth — Dave Mustaine, Teemu Mäntysaari (Lead, Rhythm, and Acoustic Guitars), James LoMenzo (Bass Guitar), and Dirk Verbeuren (Drums)—have released two tracks: “I Don’t Care” and “Tipping Point,” the album’s first single. Megadeth have also announced a very special bonus track from the album: a reimagined version of “Ride The Lightning,” which Mustaine co-wrote with Metallica’s James Hetfield, Cliff Burton, and Lars Ulrich, and was the title track from the group’s 1984 album.

The post MEGADETH Announce Global Cinematic Event “Megadeth: Behind The Mask” For January 22, 2026 appeared first on Sonic Perspectives.

– December 4th, 2025 –

“Servants Of Darkness, Guide My Way I” Video/Single Now Playing

Watch/stream NECROFIER’s “Servants Of Darkness, Guide My Way I” HERE

Houston, Texas-based black metal conjurors/recent Metal Blade Records signees, NECROFIER, will unleash their fiery new full-length, Transcend Into Oblivion, on February 27th, 2026.

NECROFIER are rewriting the rulebook in their own blood. Since 2018, the quartet has applied a spicy Texan intensity to the icy atmospheres of mid-’90s Norway, and Transcend Into Oblivion deploys their modus operandi with more power, conviction, and ingenuity than ever before. Here NECROFIER crafts a modern classic of the form, where tempestuous squalls of extremity are punctuated by sinister, melancholic, otherworldly melodies, twinkling in the gloom like will-o’-the-wisps on a black night.

Photo by Brian Sheehan

“This album really ended up where I always wanted us to go,” vocalist/guitarist Bakka reflects. “It also had me digging deeper into the journey, into myself and basically everything to get it here. I felt the way the record makes you sound. Sometimes surrounded in chaos and sometimes in moments of accession. I really like what we did on the previous album, but it doesn’t compare to what we have accomplished on the new one.”

While 2023′s Burning Shadows In The Southern Night was a redoubtable beast, edging NECROFIER closer to a radiant apex, as its name suggests, Transcend Into Oblivion surpasses their previous work and elevates the band to a higher plateau. Themes and lyrics are oppressively dark and conceptually linked with the number three being especially significant on this third LP, a three-act structure comprising three three-part suites, separated by three instrumentals.

“The other records have different concepts, but they weren’t drawn out in one big piece like the new one,” says Bakka. “From the creation, the record is based on a Luciferian Dark Night Of The Soul. ‘Fires Of The Apocalypse Light My Path’ is the awakening. The first three songs are experiences and dreams that were happening as this change began, and I questioned everything I was doing. It starts feeling as though a new fire has been lit, but it grows dark as we venture into the second act, ‘Servants Of Darkness Guide My Way.’ This is the struggle and torment that comes along with the awakening. Realizing things from the past are no longer true and you see the world in a different way, and it isn’t easy. This leads into Act III, ‘Horns Of Destruction Lift My Blade.’ This is the rebirth or accession. You have been transformed; you are not who you were before. Everything has changed, you see the world differently and you take what is yours.“

In advance of the record’s release, today the band presents “Servants Of Darkness, Guide My Way I.” Bakka elaborates, “The torment and struggle that comes along with awakening. The descent into darkness to be reborn. Where at first you thought everything was done, now you learn that these trials are what help shape you while they drive you mad.”

Watch NECROFIER‘s video for “Servants Of Darkness, Guide My Way I” HERE.

Transcend Into Oblivion was recorded at Southwing Studios and House Of Thorns in Houston, Texas, produced and engineered by Joel Hamilton with assistant engineering by Chris Kritikos, and mixed by Joel Hamilton at Studio G in Brooklyn, New York. The record features artwork by José Gabriel Alegría Sabogal (Whoredom Rife, Mephorash, Exhumation, Beheaded) and will be released on CD and digital formats as well as 2xLP w/ etching on Side D + four-page insert and DLC in the following color variants:

Cosmic Storm (Clear Brown Black Marbled) – (US)
180g black – (EU)
Enchantment (Cloudy Clear/Red Marbled) – (EU – Ltd. 500)
Transcend (Gold W/ Black Splatter) – (EU – Ltd. 300)
Cursed (Black Powder Splatter) – (EU – Ltd. 200; Band Exclusive)

Find all pre-orders at: metalblade.com/necrofier

Transcend Into Oblivion Track Listing:
01. Fires of the Apocalypse, Light My Path I
02. Fires of the Apocalypse, Light My Path II
03. Fires of the Apocalypse, Light My Path III
04. Behold, the Birth of Ascension
05. Servants of Darkness, Guide My Way I
06. Servants of Darkness, Guide My Way II
07. Servants of Darkness, Guide My Way III
08. Mystical Creation of Enlightenment
09. Horns of Destruction, Lift My Blade I
10. Horns of Destruction, Lift My Blade II
11. Horns of Destruction, Lift My Blade III
12. Toward the Necrofier

NECROFIER Live:
12/06/2025 Decibel Magazine Metal & Beer Fest – Denver, CO
3/28/2026 White Oak Music Hall Lawn – Houston, TX w/ Acid Bath, Obituary, High On Fire
5/22/2026 Maryland Deathfest – Baltimore, MD

NECROFIER:
Bakka – vocals, guitar
Semir Özerkan – guitar
Mat Aleman – bass
Dobber Beverly – drums

https://www.instagram.com/necrofier
https://www.facebook.com/Necrofier
https://www.youtube.com/@necrofier1818
https://necrofier.bandcamp.com/music

Buy iTunes Artist Page Artist News

Friday 25^th September – The Stables, Milton Keynes, UK

Saturday 26^th September – The Asylum, Birmingham, UK

Sunday 27^th September – Komedia, Bath, UK

Monday 28^th September – The Apex, Bury St Edmunds, UK

Wednesday 30^th September – The Spirit Of 66, Verviers, Belgium

Thursday 1^st October – Colos-Saal, Aschaffenburg, Germany

Friday 2^nd October – Poppodium Boerderij, Zoetermeer, Netherlands

Saturday 3^rd October – De Pul, Uden, Netherlands

Sunday 4^th October – TBA, France

Tuesday 6^th October – La Sala, Madrid, Spain

Wednesday 7^th October – Razzmatazz 2, Barcelona, Spain

Friday 9^th October – Teatro Astra, Schio, Italy

Saturday 10^th October – Phenomenon, Fontaneto d’Agogna, Italy

Sunday 11^th October – Z7, Pratteln, Switzerland

Tuesday 13^th October – RNCM Theatre, Manchester, UK

Wednesday 14^th October – Playhouse, Whitley Bay, UK

Thursday 15^th October – Slay, Glasgow, UK

Saturday 17^th October – O2 Shepherd’s Bush Empire, London, UK