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GNOD tour dates 2024

GNOD is currently touring across 3 countries and has 4 upcoming concerts.

Their next tour date is at Exchange in Bristol, after that they'll be at Doornroosje in Nijmegen.

Currently touring across

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Upcoming concerts (4) See nearest concert

Doornroosje

Down the Hill

Past concerts

Le Millénaire

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Recent tour reviews

Very intense show for them, driving riffs that reflects the angry title of their new album! As a bonus they played stuff from previous albums which I gather is unusual for them! That, along with a great experimental set from the support Group A completed a memorable evening.

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Having many Gnod CDs and liked them for years especially their collaborations with White Hills, I approached Cafe Oto last night with some trepidation. The support bands were interesting and quite different to what I expected. Then Gnod came on, not on stage as there is not one in this venue! It was immediately obvious that something special was going on. All I can say is that it was one hell of an experience that is very difficult to describe. The musicianship was astonishing and the song selection, mainly from album Chaudeland was superb. The amazing thing about the whole event was that they only played 3 songs but played for over an hour. I cannot wait to see them again and would recommend them live as an experience everyone should experience before they die. Yes they were that good.

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Hexen Valley

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A Mancunian psychedelia collective drawing on influences as disparate as Afro-beat, krautrock, drone, noise and jazz. GNOD's music rotates and expands more...

August 2024

• Aug 31 Sat London, Bush Hall GNOD View Tickets

September 2024

• Sep 01 Sun Todmorden, The Golden Lion GNOD View Tickets

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​Gnod tour dates: 4 concerts in 3 countries

Gnod are a British rock band from Salford, Greater Manchester, England. Formed in 2006, the band was described in a review of its 2011 release Ingnodwetrust as "a collective from Manchester with an ever-rotating list of members." Its current lineup since 2012 is made up of key members Paddy Shine, Chris Haslam, Marlene Ribeiro, Alex Macarte and Andy Blundell, with a rotating cast of players, including drummers Jesse Webb and John Perry and vocalist Neil Francis. In addition to releasing its work on Rocket Recordings, the band's own Tesla Tapes label serves, according to its Bandcamp page, as "an outlet for musical projects and meanderings by Gnodheads past, present & future and friends of Gnod all over the world." As part of its residency at the Islington Mill Art Academy, the band curated "Tangent", an installation by sound artist Callum Higgins. According to the academy's website, the event "transformed our club space into a fully immersive, light reactive environment. Using the PA system and light sensitive noise creating circuits people were directed into the room in small groups equipped with only a torch to guide them around. Their very presence and behaviour in the room manipulated and shaped their unique experience. The band also participates in a recurring shared club night at Islington Mill called Gesamtkunstwerk, (German for "whole arts work".) Reviewing a Gnod performance there, New Musical Express said, "this band are crazy good ... see them live now." According to founding Gnod member Paddy Shine, Tesla Tapes takes its name from Nikola Tesla; band members cite such other non-musical influences as Kurt Vonnegut, David Simon, Graham Hancock and Rupert Sheldrake. Asked what the band would like to tell the world, Chris Haslam responds "Rebel! Rebel! We are many, they are few!"

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GNOD in London live review

Salford's gnod bring their krautrock blend to the lexington.

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Of all the bands to have caught and surfed the current wave of psychedelia that’s been cleansing third-eyes and frazzling brains across the globe, Gnod are perhaps one of the most difficult to pin down, while remaining one of the most satisfying to encounter. With so many psychic explorers happy to find a groove and mine this for all it’s worth, the Salford collective refuse to be pinned down as they twist and turn, reacting to the slings and arrows that modern life continually throws out. Each of their releases have been an individual statement that morphs from one to the other, often necessitating a fluid attitude to line-ups, collaborations and deliveries. Whereas their 2014 triple album, Infinity Machines , found Gnod stretching out into truly epic proportions, so the following release, this year’s Mirror , at just three yet substantive tracks, is a relatively short, sharp shock in comparison.

For tonight’s gig, Gnod have expanded into a sextet to accommodate two drummers on stage. Working in tandem with the two guitars, bass and electronics that themselves defy conventional usage, the overall effect is an uncompromising sheet of brutalist sound that’s an untrammelled howl of rage and disgust at a world seemingly fuelled on hypocrisy and lies. If anyone needs an apposite musical reaction to the headlines of tax havens and the increasing societal divisions then this is it.

Yet within these pummelling waves of sound lies much subtlety. The title track from the new album is characterised as much for the space it utilises and creates as the grabbing of the lapels that it evokes. Marlene Ribeiro’s bass is a bowl-quaking weapon, to be sure, but its deployment here is redolent of the low-end that emanated from Lee Perry’s Black Ark studios in the 70s. Similarly, the use of echo and delay on the guitars weave in and out to create textures that simultaneously attract and repel.

Paddy Shine’s vocals aren’t so much buried in the sound as mixed to have them act as an instrument in their own right. You’d be tempted to take him at his word during Learn To Forgive were it not for the palpable and recognisable rage at the heart of his performance, accompanied by slashing and dissonant chords and a rhythmic power akin to clenched fists relentlessly beating an immoveable wall.

As their evolution over the years has proven, Gnod have been many things to many people but they’re not for the faint-hearted. This is nothing less than a totally immersive experience that at once challenges and satisfies in equal measure and is unreservedly recommended.

Julian Marszalek is the former Reviews Editor of The Blues Magazine. He has written about music for Music365, Yahoo! Music, The Quietus, The Guardian, NME and Shindig! among many others. As the Deputy Online News Editor at Xfm he revealed exclusively that Nick Cave’s second novel was on the way. During his two-decade career, he’s interviewed the likes of Keith Richards, Jimmy Page and Ozzy Osbourne, and has been ranted at by John Lydon. He’s also in the select group of music journalists to have actually got on with Lou Reed. Marszalek taught music journalism at Middlesex University and co-ran the genre-fluid Stow Festival in Walthamstow for six years.

The manager said, ‘Ian Anderson and the boys don’t want you in the band so you’ve been fired.’ I replied, ‘How can you fire me when I quit three weeks ago?’” Mick Abrahams’ life after Jethro Tull

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Since their inception, Gnod’s musical trajectory has been one of constant fluctuation borne out of an incessant need to discover new sonic worlds. Beginning life as a shamanic drone ensemble, at times fitting up to 15 members on stage, these early rituals informed the core ideals that have come to define the group in their years of activity; community and trance-inducing repetition. Throughout a discography that has amassed dozens of CD-R’s, cassettes and vinyls for labels like Rocket Recordings, Trensmat, Krokodilo (Blackest Ever Black) and their own Tesla Tapes imprint, a restless yet organic need mutate their music into new realms has had critics clawing for comparative touch stones. Acts as far ranging as Hawkwind, Popul Vuh, Pan Sonic, Sunburned Hand of the Man and Pharaoh Sanders have all been referenced in attempt to pinpoint their output, one that has historically never aped any genre but with each record furthered their own unique place in truly independent music. It is the exact same dedication to the live arena that has seen Gnod become one of the most celebrated live bands in the UK and secured them multiple tours and festival appearances throughout Europe. In these times of cash in hand ‘glory days’ reunions and bands simply rehashing their recorded material pitch perfect live, Gnod are a stark and welcome anomaly. Already moving on from the barley released and universally acclaimed epic ‘Infinity Machines’, the current live incarnation of the band is characterised by a crushing, cataclysmic new protest music whose call to arms gravitas offers a meaningful defiance to Cameron’s Austerity Britain. Gnod have taken their very namesake and charged it with bludgeoning new edge that is as euphoric as it is nihilistic. It is one that stridently attests to the group’s spiritual center, one of community that is inclusive and respectful of its audience yet will never placate to their expectations. Instead, Gnod offer a gateway to an aural black hole and along with firm guiding hand, the opportunity to dive head and body first into a powerfully new psychedelic maelstrom full of possibilities.

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INTERVIEW: Gnod

On the back of their remarkable new album just say no…, lee fisher spoke to paddy shine of gnod about politics, crass and trepanning..

By Lee Fisher on Tuesday, May 23rd, 2017

Salford based collective Gnod have been making music in all manner of styles and configurations for over a decade now, embracing everything from psych and doom to techno, and at the same time becoming key figures in the development of the community of artists and musicians working within the now essential Islington Mill complex. At the end of March, the band released perhaps their most astonishing and uncompromising album yet, the bluntly titled Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine, a five-track howl of anger delivered in a particularly ferocious style. But as Paddy Shine, one of the central members points out, it’s not necessarily what people imagine it to be.

it’s not just about Trump, you’ve got to take a look in the fucking mirror. Change starts at home, doesn’t it?

“The album tracks and the title were all written pre-Brexit, pre-Trump. Everything was already decided,” Shine explains. “And the album is as much introverted as it is screaming out about things. It is definitely calling out what’s going on around us, but the title was as much a poke at our collective apathy. How the fuck are we supposed to change the situation here? It is a political statement but it’s also taking the piss a bit too, and I think a lot of people have missed out on that side of it, because the album got released after Trump got inaugurated. All of a sudden we started getting all these emails from people going ‘Yeh! A fucking anti-Trump album’, and we’re like ‘yeh, alright, it is that but it’s not just about Trump, you’ve got to take a look in the fucking mirror.’ Change starts at home, doesn’t it? That’s the point we were getting at, and the last three albums that we’ve done have been this progression. Infinity Machines was a very introverted look at our living situation, and how we felt we were contributing to our community. Mirror was sheer rage, basically…it’s nice to finally tell someone what the album is, because a lot of people think we’re jumping on some sort of political bandwagon, whereas to us it was a continuation of what we already do, really.”

Shine is also keen to explain that the album’s shift in sound to something more abrasive and punk than much of their output wasn’t in any way contrived. “We started writing those songs well over a year ago, eighteen months even, and that’s just how they were when they were written. How we always seem to work is that we start writing and a developing a new set before we go on a new tour, hone it down on the tour, and as soon as we get back we go straight into the studio and record it. So there was no great agenda, it was just a constant natural process, no ’okay, let’s get angry and make some political stuff’, that’s just how we roll.”

For the current UK tour, which hits Newcastle on Wednesday 24 th May, the band will feature a stripped-down line-up for the Just Say No… material – the four core members, a new drummer and Fish (aka Neil Francis, also of Terminal Cheesecake) on vocals – but there will be some electronic elements too. “We’ve been getting more interested in electronic sets, so we’ll be doing some of those on this tour, which is nice because hopefully people are starting to get into the weirder electronic things we do.” The band initially met some resistance when they started exploring less rock-based forms. “At first, we had so many weird reactions, people throwing things at us and shouting, ‘where’s your fucking geetars, what is this shit?’. But we love that, it’s great to do people’s heads in. I love going to a gig and getting my head done in by a band, I might have some expectations and I want them blown out of the water!”

It had always struck me that the manner in which Gnod conduct themselves – their independence, their generous involvement in underground communities – had some parallels with Crass, and Shine certainly sees that band as a key influence on him at least.

“When I was about 12, 13, I discovered Crass through a friend’s uncle’s record collection that he gave us. Ever since then Crass, Penny Rimbaud and Dial House have definitely always been hugely influential, the way Crass went about doing what they did and pretty much changed the record industry and showing young punks that there was an alternative to big business. I don’t think they get enough credit for doing all that: they set up spaces, and a lot of the bands I love from the late eighties and the early nineties, the weirder stuff, that all comes from Crass somehow.”

Typically industrious, Gnod have another new album out through Rocket next month, written and recorded with Radar Men From The Moon as The Temple Of BBV as part of a residency at last year’s Eindhoven Psych Lab, and Shine explains that BBV refers to “brain, blood, volume, which is directly linked to trepanation.” As Shine elaborates, “I’d be well up for giving trepanation a go if I could find somebody to do it. I just want the right medical procedure, you can do it in South America for a couple of grand. It’s only in western Europe where it’s taboo. It’s the oldest surgical procedure in the world, and it still gets practiced. So this album was themed around BBV and… I don’t want to use the word ‘enlightenment’, but something like enlightenment through trepanation, or the idea of it, freeing yourself and regaining some kind of paradise lost, you know?”

Just Say No is out now on Rocket Recordings. The Temple Of BBV album, also on Rocket, is released on June 9 th . Gnod play Newcastle Cluny on Wednesday 24 th May with White Hills.

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Sonic Crusher

+ the gluts.

GNOD hasn’t been a band to stick to simple genre classifications, instead opting to explore new sonic worlds. The current live set-up of the band is characterized by crushing, primal industrial noise. It is a fitting response to the wave of British cut backs that’s hitting the country right now.

Their latest albums “La mort du sens” from 2021, and “Hexen Valley” from 2022 have a raw, emotion-driven edge to them that’s both euphoric and nihilist. The British band offers an entry point to a sonic black hole, an intense maelstrom of psychedelia and noise that drags you along, making escape practically impossible. Their performance at Sonic Whip 2023 was tremendous and left the entire audience dumbfounded. They are coming back on 29 August to repeat this. In GNOD we trust!

Tonight’s support is definitely worth coming early. The name will be revealed at a later moment. Keep an eye out for news on our site and socials!

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Since their inception, Gnod’s musical trajectory has been one of constant fluctuation borne out of an incessant need to discover new sonic worlds. Beginning life as a shamanic drone ensemble, at times fitting up to 15 members on stage, these early rituals informed the core ideals that have come to define the group in their years of activity; community and trance-inducing repetition. Throughout a discography that has amassed dozens of CD-R’s, cassettes and vinyls for labels like Rocket Recordings, Trensmat, Krokodilo (Blackest Ever Black) and their own Tesla Tapes imprint, a restless yet organic need mutate their music into new realms has had critics clawing for comparative touch stones. Acts as far ranging as Hawkwind, Popul Vuh, Pan Sonic, Sunburned Hand of the Man and Pharaoh Sanders have all been referenced in attempt to pinpoint their output, one that has historically never aped any genre but with each record furthered their own unique place in truly independent music. It is the exact same dedication to the live arena that has seen Gnod become one of the most celebrated live bands in the UK and secured them multiple tours and festival appearances throughout Europe. In these times of cash in hand ‘glory days’ reunions and bands simply rehashing their recorded material pitch perfect live, Gnod are a stark and welcome anomaly. Already moving on from the barley released and universally acclaimed epic ‘Infinity Machines’, the current live incarnation of the band is characterised by a crushing, cataclysmic new protest music whose call to arms gravitas offers a meaningful defiance to Cameron’s Austerity Britain. Gnod have taken their very namesake and charged it with bludgeoning new edge that is as euphoric as it is nihilistic. It is one that stridently attests to the group’s spiritual center, one of community that is inclusive and respectful of its audience yet will never placate to their expectations. Instead, Gnod offer a gateway to an aural black hole and along with firm guiding hand, the opportunity to dive head and body first into a powerfully new psychedelic maelstrom full of possibilities.

  Official tourdates  

GNOD (R&D)

Gnod (R&D) is a stripped back version of the band consisting for this outing of Gnod co founders Paddy Shine and Chris Haslam.

After 10 years of Gnod with over 40 players passing through the ranks and collaborations with the likes of Charles HAYWARD,Faust, Anthony Child and White Hills to name but a few, Gnod (R&D) is a chance to hit the road and ‘research and develop’ sounds , places, people and atmospheres for the next stages of future Gnod performances.

R&D will find Paddy and Chris improvising with new instruments, sounds and ideas with the option of collaborating with various musicians along the way. There will be an open stage at Gnod(R&D) shows and people are encouraged to get involved be it singing , shouting, dancing, bringing an instrument/device to the table or just simply tuning in and coming along for the ride.

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Gnod + White Hills

• Wednesday | 02.05.18
• Band on the Wall, Manchester

Gnod are a psychedelic noise rock collective from Manchester, England. Since forming in 2006, the group has had an ever-shifting lineup of multi-instrumentalists and vocalists, but some of the group’s key members have included Paddy Shine, Chris Haslam, Neil Francis, and Marlene Ribeiro. Along with their roster, Gnod’s music has constantly evolved and morphed, ranging from hallucinatory Krautrock-influenced folk to dubby, acid-drenched post-punk. Their music is far more aggressive and darker than most bands associated with the modern psychedelic rock scene, having as much in common with Public Image Ltd. or Swans as with Hawkwind or Guru Guru. The group’s lyrics and album artwork often mock religion (particularly on albums like In Gnod We Trust), and are heavily critical of politics and society. Gnod have received acclaim for their immersive performances and installations that involve audience participation, and they have performed at festivals such as Roadburn and the Liverpool International Festival of Psychedelia.

The dismal realities, political or otherwise, that are part of our modern world naturally influence our creative voices. It is in this context that White Hills re-evaluated their approach to creating a new album. Having continually refined their sound, pushing the boundaries of psychedelic music, White Hills flipped the script on ‘Stop Mute Defeat’. Dave W. and Ego Sensation have brazenly produced an industrially-charged record that pulsates unlike anything they’ve released before.

Hard-line, gritty, and intellectually engaged, ‘Stop Mute Defeat’ is a New York record through and through. With this in mind, White Hills drafted Martin Bisi (Sonic Youth, Brian Eno, Afrika Bambaataa) to mix. White Hills recorded with Bisi on two of their previous releases, Frying On This Rock in 2012 and its follow-up So You Are…So You’ll Be, however Stop Mute Defeat is the first time they worked with Martin “The Beast” Bisi in control of the mixing board. A native New Yorker who made his name in the city’s early hip-hop and no-wave scenes, Bisi was attracted to White Hills’ new material for its distinct early-80s Mudd Club feel. A dance hall, drug den, and bar, the Mudd Club was one of New York’s legendary haunts in the late 1970’s. As a centre of a distinct art scene the club served as a major influence for White Hills and Stop Mute Defeat’s sound.

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LISTEN: New GNOD (R+D) Album Christian Eede , January 18th, 2019 15:21

GNOD offshoot GNOD (R+D) stream their third album ahead of its release later this month

GNOD's Paddy Shine and Chris Haslam formed an offshoot project of the band, called GNOD (R+D), in late 2017 and have since shared two cassette releases as a pair.

They're now back with the third instalment in their series of releases as a duo, and it's fittingly titled Vol 3 . You can listen to it in full below ahead of its release next Friday (January 25).

GNOD (R+D) is described as "a platform to research, develop and expand on sound environments as well as collaborators for the future workings in their main band." Vol 3 sees them turn in four long-form pieces which the label describe as "21st century ritual music," and were recorded while on tour through Italy in November of last year.

You can pre-order the album ahead of its release via Sound Of Cobra here .

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The Last Dinner Party lives up to the hype at sold-out Turner Hall concert in Milwaukee

The Last Dinner Party was noticeably slaphappy on stage at Turner Hall Ballroom in Milwaukee Friday night, to the point that frontwoman Abigail Morris felt obliged to explain.

Except an elated Morris couldn't quite find the words, so she let bassist Georgie Davies do the talking. Amid a rigorous touring schedule, Davies said, they had created their own special holiday to celebrate at least two days off between gigs, and after this Milwaukee show, the band was going to have a break until next week.

So giddiness was in order. But the elation flowing through the crowd was for a different reason: The Last Dinner Party is on a wild ride few bands ever experience.

Playing its first gig in the band's native London in November 2021, The Last Dinner Party's pointed and infectious baroque pop rock quickly made the band a national sensation. They opened for the Rolling Stones in London's Hyde Park just eight months later, won the Rising Star award at the Brit Awards last month, and won the BBC Sound Of Poll, which has foreshadowed impending superstardom for Adele, Sam Smith and others.

And their debut album, February's "Prelude to Ecstasy," topped the charts in their homeland and has earned heaps of critical praise stateside, leading to major New York Times and Rolling Stone profiles and several sold-out shows, including Friday's in Milwaukee.

The rapid ascent for a band of female and nonbinary musicians has grossly prompted some cries of "industry plant" and other backlash thinly veiled in misogyny. But across a 67-minute set in Milwaukee Friday, The Last Dinner Party proved that it deserves all the accolades and good fortune that have come the band's way.

This may be the band's first tour through the Midwest, and they don't have extensive show experience. But confidently taking the stage Friday in prom-ready attire (and briefly sporting matching shades for the encore), the band's five members and touring drummer Daiana Azar swiftly demonstrated a striking sense of self and delivered a 13-song set void of any drag and filled with gripping drama.

Besides effortlessly throwing out adrenaline-pumping guitar licks for standouts like "Sinner," Emily Roberts demonstrated an equally absorbing musicality on the other side of the spectrum with a gentle flute intro for "Beautiful Boy." Aurora Nishevci conjured plenty of post-punk and baroque-pop atmosphere on keys (and sometimes keytar) while also singing in Albanian with a haunting lilt for "Gjuha."

And a winning chemistry among the members — a key reason for the band's rapid popularity — erupted when Davies, Roberts and Nishevci huddled together and rocked out with guitarist Lizzie Mayland for Catholic school-skewering "My Lady of Mercy," and when they jubilantly joined Morris on the unapologetically perverse chorus for signature singalong single "Nothing Matters."

The sweet and salty nature of those lyrics carried over into Morris' humorous and frequent banter between songs, while her stage presence frequently shifted from playful, dress-flowing pirouettes to poised, performative poses. The Last Dinner Party has cited David Bowie and Florence + The Machine as influences, and Morris especially channeled their theatricality with every fiber of her being — which, in turn, gave the sharp, sometimes shattered lyrics heightened resonance.

For "Caesar on a TV Screen" Friday, Morris' exaggerated gestures played up the absurdity and audacity of male privilege. "I know that I can see myself as a man … I can talk all the time/'Cause my shoulders are wide," she sang with tongue firmly planted in cheek. But about halfway through the song, she scaled back the bombast to quietly let the insecurity and sadness behind the showmanship rise to the surface, singing, just above a whisper, "Anyone and everyone will like me then/Everyone will like me then."

Morris' tenderness also shined for the start of what she dubbed "the weeping hour" of the set for "On Your Side," vowing through the chorus, "When it's 4 a.m. and your heart is breaking/I will hold your hands to stop them from shaking," the generosity of the devotion disturbed by images of vampirism and cold-hearted murder that expose the ugliness of a toxic relationship.

For album closer "Mirror," Morris initially sang the chorus a cappella — "I'm just a mirror/I don't exist without your gaze" — her voice steadily rising for a shattering climax. And on "Portrait of a Dead Girl," Morris' crowd-swaying power reached its full force, singing lines like "I wish you had given me the courtesy of ripping out my throat" with heart-gripping venom, before leading the crowd through an impassioned, looping singalong of "Give me the strength, give me the strength" for the song's cathartic outro.

It was clear almost as soon as tickets for The Last Dinner Party's Milwaukee show went on sale, and quickly sold out, that the band was already too big for the 987-person-capacity Turner Hall Ballroom.

But Friday's winning show confirmed that, the next time the British band comes to town, there's going to be way more people at the Party.

5 takeaways from The Last Dinner Party’s Milwaukee concert

• Three songs into the set, a cheesehead was tossed onto the stage customized with the first names of the band written all around it. Morris promptly placed it on her head to audience approval — after lowering herself to the ground, as if she was about to be knighted by King Charles. A moment later, Morris asked Roberts for her consent to place the cheesehead on her head, which she gave, and Mayland sported it for a spell later in the set, too. (The scene also prompted one guy in the crowd to repeatedly shout about having a salmon hat, or at least that's what it sounded like, prompting some fans to boo and Morris to gently restore peace.)
• Morris also revealed that the band visited Mars Cheese Castle (or as she said it, the "cheeesssee castle") en route to Milwaukee. "We met the royal family and we shook hands … and we're going to bring curds back to the U.K.," she said. "We've never been to the Midwest and it's like, 'Cheese! Beer!' It's like this state was invented for us."
• The setlist included a song The Last Dinner Party has yet to release called “Godzilla,” a rollicking rocker reminiscent of a Rolling Stones bar jam. Here's hoping it makes it onto the next album.
• The band also played a cover of Chris Isaak’s “Wicked Games,” which at times showed even more restraint than the original.
• Theoretically, opener Miss Grit was the antithesis of the Last Dinner Party’s baroque stylings, with Margaret Sohn performing Grit’s alternative and electronic rock songs solo under intentionally shadowy lighting. But there was still a simmering intensity to Sohn’s musicianship that heartily won over the crowd before her half-hour was through.

The Last Dinner Party’s Turner Hall Ballroom setlist

• “Burn Alive”
• ”Caesar on a TV Screen”
• ”The Feminine Urge”
• ”Beautiful Boy”
• ”On Your Side”
• ”Portrait of a Dead Girl”
• ”Wicked Game” (Chris Isaak cover)
• ”My Lady of Mercy”
• ”Nothing Matters”

Editor's Note: This review has corrected the name of The Last Dinner Party's touring drummer.

Contact Piet at (414) 223-5162 or  [email protected] . Follow him on X at  @pietlevy  or Facebook at  facebook.com/PietLevyMJS .

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Bruce Springsteen and the E Street Band Get Loose in Los Angeles

• By Ethan Millman

Ethan Millman

Three hours into Bruce Springsteen ‘s epic return to Los Angeles on Thursday night with the E Street Band, he stared down the sold-out crowd at the Forum. “Do you have anything left?” he shouted, midway through “Twist and Shout,” the second-to-last song of his first L.A. show in eight years. Five decades in, the magic of a Springsteen show remains: He always seems to have a little bit left in the tank. 

The 2024 version of the tour has been looser than last year’s, which stuck fairly close to a single set list, and Thursday was no exception. Springsteen kicked off with a true rarity, a cover of John Lee Hooker’s “Boom Boom” (most frequently played on the Tunnel of Love Express Tour back in 1988), before jumping into “Lonesome Day” (rarely played last year, but now a staple in the set) and “Prove It All Night,” then his live -favorite arena-rock reworking of Jimmy Cliff’s “Trapped.”

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Six dates into their return to the road, Springsteen and the E Street Band sounded like they had never been interrupted. “Are you having fun yet? Because we haven’t had fun yet,” Springsteen told the crowd just over an hour into his show. “This is our pre-fun. We’re here to wake you up, shake you up, and take you to higher ground. The E Street Band is here to bring the joyous power of rock & roll into your life. But we need your help. We plan on sending you home with your feet hurting, your hands hurting, your ass in paralysis, and your sexual organs stimulated.”

Springsteen maintains a remarkably simple setup and show presentation compared to the other blockbuster live shows currently on the road. The visuals are limited to video screens and elegant stage lights, keeping the focus on the 17 musicians onstage with him. He doesn’t really need much else. 

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From there, the show was all joy and catharsis, with an unbroken string of hits and live favorites, beginning with Nils Lofgren’s jaw-dropping guitar virtuosity on “Because the Night,” and inevitably reaching “Thunder Road” and “Born to Run.” As he has throughout the tour, Springsteen finished the show alone with his meditation on life after death, “I’ll See You in My Dreams.” 

Springsteen and the E Street Band will play another Forum show on Sunday.

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Moscow Metro 2019

Will it be easy to find my way in the Moscow Metro? It is a question many visitors ask themselves before hitting the streets of the Russian capital. As metro is the main means of transport in Moscow – fast, reliable and safe – having some skills in using it will help make your visit more successful and smooth. On top of this, it is the most beautiful metro in the world !

. There are over 220 stations and 15 lines in the Moscow Metro. It is open from 6 am to 1 am. Trains come very frequently: during the rush hour you won't wait for more than 90 seconds! Distances between stations are quite long – 1,5 to 2 or even 3 kilometers. Metro runs inside the city borders only. To get to the airport you will need to take an onground train - Aeroexpress.

RATES AND TICKETS

Paper ticket A fee is fixed and does not depend on how far you go. There are tickets for a number of trips: 1, 2 or 60 trips; or for a number of days: 1, 3 days or a month. Your trips are recorded on a paper ticket. Ifyou buy a ticket for several trips you can share it with your traveling partner passing it from one to the other at the turnstile.

On every station there is cashier and machines (you can switch it to English). Cards and cash are accepted. 1 trip - 55 RUB 2 trips - 110 RUB

Tickets for 60 trips and day passes are available only at the cashier's.

60 rides - 1900 RUB

1 day - 230 RUB 3 days - 438 RUB 30 days - 2170 RUB.

The cheapest way to travel is buying Troyka card . It is a plastic card you can top up for any amount at the machine or at the ticket office. With it every trip costs 38 RUB in the metro and 21 RUB in a bus. You can get the card in any ticket office. Be prepared to leave a deposit of 50 RUB. You can get it back returning the card to the cashier.

SamsungPay, ApplePay and PayPass cards.

One turnstile at every station accept PayPass and payments with phones. It has a sticker with the logos and located next to the security's cabin.

GETTING ORIENTED

At the platfrom you will see one of these signs.

It indicates the line you are at now (line 6), shows the direction train run and the final stations. Numbers below there are of those lines you can change from this line.

In trains, stations are announced in Russian and English. In newer trains there are also visual indication of there you are on the line.

To change lines look for these signs. This one shows the way to line 2.

There are also signs on the platfrom. They will help you to havigate yourself. (To the lines 3 and 5 in this case). 

The Black Crowes kick off tour in Nashville with high-energy show featuring Lainey Wilson

T he Black Crowes' brothers Chris and Rich Robinson kicked off their 35-date "Happiness Bastards" tour Tuesday night at the Opry House in Nashville and introduced the crowd to arguably some of their best new music in decades backed up with a few classic favorites and choice cover tunes.

On a minimal set decorated only with strings of white lights, uniquely mismatched Marshall stacks, a life-size dressing room mirror, and a cardboard cutout of Chuck Berry peeking from behind the curtain, the Crowes gave the crowd exactly what they'd been hoping for: Chris' pipes of steel, Rich's excellent guitar chops and a surprise appearance by Lainey Wilson.

"If you're going to play the Grand Ole Opry, you have to bring out a bona fide country superstar," Chris told the crowd as he welcomed Wilson to the stage. She sang a duet from the new album called "Wilted Rose" and then stayed to back the brothers on a powerful version of "She Talks to Angels."

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Chris danced and strutted across the stage in typical Black Crowes fashion, while his brother Rich focused on his guitar playing.

Kicking off the night at the packed-out Opry House despite looming severe weather Tuesday night were "Bedside Manners" and "Rats and Clowns" from the new album, "Happiness Bastards," which is the group's first original release in 15 years.

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"It's been a little while since we've had some new songs to play for you all," Chris Robinson teased the crowd.

Next came an old favorite, "Twice as Hard" from the band's 1990 smash "Shake Your Money Maker." The band would layer in hits from that first album including "Remedy," "Jealous Again," and their biggest hit they didn't write, "Hard to Handle."

"A few years ago, we were lucky enough to have the idea to record this song," he said of "Hard to Handle." "Written by the greatest soul singer of all time from Macon, Georgia. His name was Otis Redding and we've been riding on this song for a long time."

The band seemed to enjoy performing the show as much as the crowd enjoyed watching it and dancing to it. The Crowes played for a solid 90 minutes before leaving the stage briefly to return for a one-song encore with Lou Reed's "White Light/White Heat."

It was a great way to kick off this new tour, which Chris Robinson said was not the first one they've started in Nashville.

"This marks two tours we've started in Nashville," he said. "Maybe this could become a thing."

The Setlist:

• "Bedside Manners"
• "Rats and Clowns"
• "Twice as Hard"
• "Morning Song"
• "Cross Your Fingers"
• "Waiting and Wanting"
• "Hard to Handle"
• "Kickin' My Heart Around"
• "Wilted Rose"
• "She Talks to Angels"
• "Flesh Wound"
• "I Ain't Hiding"
• "Thorn in My Pride"
• "Jealous Again"
• "White Light/White Heat"

This article originally appeared on Nashville Tennessean: The Black Crowes kick off tour in Nashville with high-energy show featuring Lainey Wilson

Moscow Metro Underground Small-Group Tour - With Reviews & Ratings

Moscow metro underground small-group tour.

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Tour Information

Key Details

• Mobile Voucher Accepted
• Free Cancellation
• Duration: 3 Hrs
• Language: English
• Departure Time : 10:00 AM
• Departure Details : Karl Marks Monument on Revolution Square, metro stop: Square of Revolution
• Return Details : Metro Smolenskaya
• If you cancel at least 4 day(s) in advance of the scheduled departure, there is no cancellation fee.
• If you cancel within 3 day(s) of the scheduled departure, there is a 100 percent cancellation fee.
• Tours booked using discount coupon codes will be non refundable.

Go beneath the streets on this tour of the spectacular, mind-bending Moscow Metro! Be awed by architecture and spot the Propaganda , then hear soviet stories from a local in the know. Finish it all up above ground, looking up to Stalins skyscrapers, and get the inside scoop on whats gone on behind those walls.

Know More about this tour

We begin our Moscow tour beneath the city, exploring the underground palace of the Moscow Metro. From the Square of Revolution station, famous for its huge statues of soviet people (an armed soldier, a farmer with a rooster, a warrior, and more), we’ll move onto some of the most significant stations, where impressive mosaics, columns, and chandeliers will boggle your eyes! Moreover, these stations reveal a big part of soviet reality — the walls depict plenty of Propaganda , with party leaders looking down from images on the walls. Your local guide will share personal stories of his/her family from USSR times, giving you insight into Russia’s complicated past and present. Then we’re coming back up to street level, where we’ll take a break and refuel with some Russian fast food: traditional pancakes, called bliny. And then, stomachs satiated, we are ready to move forward! We’ll take the eco-friendly electric trolleybus, with a route along the Moscow Garden Ring. Used mainly by Russian babushkas(grannies) during the day, the trolleybus hits peak hours in the mornings and evenings, when many locals use it going to and from their days. Our first stop will be the Aviator’s House, one of Stalin’s Seven Sisters, followed by the Ministry of Foreign Affairs — and you’ll hear the legends of what has gone on inside the walls. Throughout your Moscow tour, you’ll learn curious facts from soviet history while seeing how Russia exists now, 25 years after the USSR.

Local English-speaking guide

Pancake snack and drink

Additional food and drinks

Tickets for public transport

Souvenirs and items of a personal nature

Tips and gratuities for the guide

Additional Info

Confirmation will be received at time of booking

Dress standard: Please wear comfortable shoes for walking. For your Urban Adventure you will be in a small group of a maximum of 12 people

Traveler Reviews

This tour exceeded our expectations. Nikolai (Nick), our tour guide, was very knowledgeable, thorough, and has a great personality. He didn't take shortcuts and really covered everything that was on the agenda in great detail. We saw beautiful metro stations and learned the history behind them, including many of the murals and designs.

We did the tour with Anna her knowledge and understanding of the History surrounding the metro brought the tour alive. Well done Anna!

This tour was amazing!

Anna was a great tour guide. She gave us heaps of interesting information, was very friendly, and very kindly showed us how to get to our next tour.

Amazing beauty and history.

An excellent tour helped by an absolutely amazing guide. Anna gave a great insight into the history of the metro helped by additional material she had prepared.

great tour and guide - thanks again

great will do it again, Miriam ke was very good as a guide she has lived here all here life so knew every interesting detail.a good day

Claudia Looi

Touring the Top 10 Moscow Metro Stations

By Claudia Looi 2 Comments

Komsomolskaya metro station looks like a museum. It has vaulted ceilings and baroque decor.

Hidden underground, in the heart of Moscow, are historical and architectural treasures of Russia. These are Soviet-era creations – the metro stations of Moscow.

Our guide Maria introduced these elaborate metro stations as “the palaces for the people.” Built between 1937 and 1955, each station holds its own history and stories. Stalin had the idea of building beautiful underground spaces that the masses could enjoy. They would look like museums, art centers, concert halls, palaces and churches. Each would have a different theme. None would be alike.

The two-hour private tour was with a former Intourist tour guide named Maria. Maria lived in Moscow all her life and through the communist era of 60s to 90s. She has been a tour guide for more than 30 years. Being in her 60s, she moved rather quickly for her age. We traveled and crammed with Maria and other Muscovites on the metro to visit 10 different metro stations.

Arrow showing the direction of metro line 1 and 2

Moscow subways are very clean

To Maria, every street, metro and building told a story. I couldn’t keep up with her stories. I don’t remember most of what she said because I was just thrilled being in Moscow.   Added to that, she spilled out so many Russian words and names, which to one who can’t read Cyrillic, sounded so foreign and could be easily forgotten.

The metro tour was the first part of our all day tour of Moscow with Maria. Here are the stations we visited:

1. Komsomolskaya Metro Station  is the most beautiful of them all. Painted yellow and decorated with chandeliers, gold leaves and semi precious stones, the station looks like a stately museum. And possibly decorated like a palace. I saw Komsomolskaya first, before the rest of the stations upon arrival in Moscow by train from St. Petersburg.

2. Revolution Square Metro Station (Ploshchad Revolyutsii) has marble arches and 72 bronze sculptures designed by Alexey Dushkin. The marble arches are flanked by the bronze sculptures. If you look closely you will see passersby touching the bronze dog's nose. Legend has it that good luck comes to those who touch the dog's nose.

Touch the dog's nose for good luck. At the Revolution Square station

Revolution Square Metro Station

3. Arbatskaya Metro Station served as a shelter during the Soviet-era. It is one of the largest and the deepest metro stations in Moscow.

Arbatskaya Metro Station

4. Biblioteka Imeni Lenina Metro Station was built in 1935 and named after the Russian State Library. It is located near the library and has a big mosaic portrait of Lenin and yellow ceramic tiles on the track walls.

Lenin's portrait at the Biblioteka Imeni Lenina Metro Station

5. Kievskaya Metro Station was one of the first to be completed in Moscow. Named after the capital city of Ukraine by Kiev-born, Nikita Khruschev, Stalin's successor.

Kievskaya Metro Station

6. Novoslobodskaya Metro Station  was built in 1952. It has 32 stained glass murals with brass borders.

Novoslobodskaya metro station

7. Kurskaya Metro Station was one of the first few to be built in Moscow in 1938. It has ceiling panels and artwork showing Soviet leadership, Soviet lifestyle and political power. It has a dome with patriotic slogans decorated with red stars representing the Soviet's World War II Hall of Fame. Kurskaya Metro Station is a must-visit station in Moscow.

Ceiling panel and artworks at Kurskaya Metro Station

8. Mayakovskaya Metro Station built in 1938. It was named after Russian poet Vladmir Mayakovsky. This is one of the most beautiful metro stations in the world with 34 mosaics painted by Alexander Deyneka.

Mayakovskaya station

One of the over 30 ceiling mosaics in Mayakovskaya metro station

9. Belorusskaya Metro Station is named after the people of Belarus. In the picture below, there are statues of 3 members of the Partisan Resistance in Belarus during World War II. The statues were sculpted by Sergei Orlov, S. Rabinovich and I. Slonim.

10. Teatralnaya Metro Station (Theatre Metro Station) is located near the Bolshoi Theatre.

Teatralnaya Metro Station decorated with porcelain figures .

Taking the metro's escalator at the end of the tour with Maria the tour guide.

Have you visited the Moscow Metro? Leave your comment below.

January 15, 2017 at 8:17 am

An excellent read! Thanks for much for sharing the Russian metro system with us. We're heading to Moscow in April and exploring the metro stations were on our list and after reading your post, I'm even more excited to go visit them. Thanks again 🙂

December 6, 2017 at 10:45 pm

Hi, do you remember which tour company you contacted for this tour?

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