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Róisín Murphy announces UK and Europe tour in support of latest album Hit Parade

• By Connor Gotto
• September 15, 2023

Róisín Murphy will tour her latest album, ‘Hit Parade’, early next year. 

The electronic star will launch the run in Leeds on February 8, playing across the UK through February 17 with a stop at London’s Alexandra Palace.

She’ll then take the show to Europe, starting March 8 in Amsterdam and continuing with 10 stops through March 21 in Paris. 

The shows will feature a “full band, exceptional visuals, new songs and old, a little something for everyone”.

Tickets go on sale September 22. The full list of dates is below. 

FEBRUARY 2024

8 – O2 Academy, Leeds

10 – The Halls, Wolverhampton

11 – Beacon, Bristol

13 – O2 Academy, Glasgow

14 – O2 City Hall, Newcastle

17 – Alexandra Palace, London

8 – Gashouder, Amsterdam, NL

9 – Zoom, Frankfurt, DE

10 – E-Werk, Cologne, DE

13 – Cirque Royal, Brussels, BE

15 – Arena Ursynow, Warsaw, PL

16 – Verti Music Hall, Berlin, DE

17 – Divaldo Archa, Prague, CZ

19 – Alcatraz, Milan, IT

20 – X-Tra, Zurich, CH

21 – Olumpia, Paris, FR

‘Hit Parade‘ is billed as a “compendium of genre-melding gems”, with Róisín saying of the DJ Koze collaboration: “We worked remotely, in different countries sending tracks/ideas back and forth for several years. I always have to approach a new collaboration with openness and a willingness to learn and never more so than with this.

“The studio in this case was imaginary, in the airspace between Hamburg and London. That meant we were both in a personal, private place when working on the songs.

“For me that brought out a more intimate approach to the songwriting, I told this album my secrets. For Koze it meant total freedom and absolute focus without the distraction of my presence. He took a deep dive into himself and I believe that’s why the music is so vibrant and alive. It is just exploding with colour!”

Admitting she’s “never been happier” than she is right now ,  the Moloko singer added: “For me the record is about love and sensuality but also it’s about music itself and how it’s always been there for me.

“There are tinges of darkness, of the abyss, as well as all the joy. There’s contemplation of mortality which is meant to serve as reminder to me (and perhaps you the listener) to really live while we can.” 

In a review of the album, RETROPOP called ‘Hit Parade’ Murphy’s “most diverse and captivating work to date”, adding: “even in its wildest moments, it speaks to the artist at its core, showcasing her command over her work and instantly becoming an essential Róisín Murphy album”.

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Róisín Murphy: ‘I commit to the point where it could be dangerous’

After 30 years of pop that refuses the easy path, the ex-Moloko singer has made the best album of her career. She discusses confronting audiences, timid record execs – and her own mortality

R óisín Murphy is sitting in an old-fashioned shabby-chic drinking club in Soho, central London, that she approvingly describes as “very literary”. She is telling me about lockdown in Ibiza, where she lives with her partner and two children. “It was lovely to have the island so clean and quiet, driving along the salt flats, nobody around. Except they sent the Guardia Civil [Spain’s national gendarmerie] to Ibiza – they really clamped down. You couldn’t walk your dogs, you couldn’t smoke on the street. There were policemen with machine guns. So you were between this magical place with no people in it and this background feedback, like white noise, of authoritarianism.”

The experience was, she says, “like living in a JG Ballard book”. Then again, she quite enjoyed that: “That gave it a bit of an edge. Come on! Let’s have it!”

Besides, it got her thinking about Ballard, which inspired a song on her new album. “The Thousand Dreams of Stellavista, the story about psychotropic houses,” she nods. “Which is basically AI, or an idea of it. JG Ballard’s like a Nosferatu or something, isn’t he?” She frowns. “Not Nosferatu. What’s he called?”

Nostradamus?

“Nostradamus! He predicted what’s happening now, absolutely.”

If you want evidence that Murphy is not like other pop stars, see above. Should you need it underlined, you could look at the Irish pop star’s social media feeds, particularly TikTok, where a phantasmagoria of oddness plays out amid the usual album announcements. There is Murphy performing an acoustic set in her back garden, arriving on the back of a tractor, carrying a pitchfork; Murphy nodding along to her own music, while smoking what looks suspiciously like a large joint; Murphy warping her face and voice into a variety of characters, including Karol, a clueless US PR, and Jason, a cockney ex-raver blathering on about the early days of acid house.

Or you could listen to CooCool , the single from her forthcoming sixth solo album (name to be announced), which builds from a gentle synth and drum machine intro into a glorious, euphoric pop song, driven by a lovely old soul sample. It also features Murphy, well, cooing in lieu of a chorus; it’s punctuated by apparently unrelated muttered asides – “I’ve lost it”, “I’m sorry” – and accompanied by an image of her face half-covered by a kind of psychedelic latex gimp mask.

It’s clearly the work of an idiosyncratic imagination, or rather two: Murphy and her latest collaborator, the German producer DJ Koze , whom she describes as “an enigma” with “the most sensitive ears on the planet” who “seems to bleed when he makes music” – and who could deal with Murphy’s approach to collaboration.

“There’s not many that’ll put up with it, I can tell you,” she says, laughing. “It’s incredible when you think about it. They pour themselves into it as a 50/50 collaborator and then they let me take it into the world. I’ll make the artwork, the visuals, the video; I’ll put the shows together. It will now be my vision and they have to go with that, which on their part takes an awful lot of trust.”

The results are spectacular – the best of her 30-year career, better even than 2020’s acclaimed Róisín Machine . The songs are uniformly fantastic, the music a skewed trawl through disco, cosmic funk, breakbeats and soul. Murphy doesn’t go clubbing as much as she used to, but she says it’s important that her music keeps the connection to the dancefloor that it has had since she emerged in the mid-90s as one half of Moloko, the duo she formed with then-boyfriend, Mark Brydon.

“It’s a place that still has a little bit of hope, of the future, of some sort of utopia,” she says. “I like optimism. I’m barely holding on to it; I don’t know what it’s coming out of and if I believe it any more. But I have to have that hope when I’m making music. It’s like betting on a horse that might take you closer to the sublime.”

Songs about love and sex jostle with lyrics that ponder the size of the universe, the meaning of existence and free will. “That would basically be down to my father,” she says. “He was a very philosophical fella and that made me somebody who is happiest when I have a big thought, a new thought. So I actively search that out. The first time I heard [the self-styled “philosophical entertainer”] Alan Watts was better than drugs. Oh, mate, it put me in such a good mood. It literally gives me a buzz, the history of philosophy.”

Her father, a businessman who “fitted bar furniture in a quarter of Ireland’s pubs”, hangs over the album in other ways. He died of Parkinson’s after the album’s completion, which Murphy thinks accounts for its lyrical preoccupation with mortality. Certainly, she says, his illness and death got her thinking about her childhood in Arklow, County Wicklow. She turns 50 this summer and describes herself as being “in a moment that a lot of people my age will be in as well, I’m sure, where a whole world is dying. Not just my dad, but the world he existed in has gone. That poetic way of living, singing all the fucking time, not ringing before you come round.

“Pubs were his natural environment and I was one of those children that loved that world, sitting while they were having their pints and earwigging to what the adults were saying. I liked nothing more than when they were having a party and they were drinking and singing. I kept finding more in it to sustain me. Young people were boring to me compared with my dad’s friends. They were funny, they were aspirational, in the best sense of the word. They were the most interesting people I ever met. You start to worry about losing the last shreds of the ideas that are left, like individualism. That can be very anxiety-producing in someone like me.”

The family moved to Manchester when Murphy was 12, but she refused to follow them back when her parents split and returned to Ireland three years later. Instead, she immersed herself in experimental music and clubbing. She moved to Sheffield, where she met Brydon. Her individualism was immediately evident: Moloko followed 1999’s smash Sing It Back and 2000’s fellow disco-house hit The Time Is Now with a single called Indigo, which featured a bellowed chorus of: “Rameses! Colossus!” and was reviewed by one music paper with the plaintive inquiry: “Did you not like being a pop star, then?” The videos for their hits were glamorous, but the subsequent album, Statues, had Murphy on the cover, waist-deep in water, sloshing around two pints of beer and snarling at the camera.

After Moloko split in 2004, Murphy embarked on an equally abstruse solo career, with critically lauded and Mercury-nominated records rubbing shoulders with a collection of songs in Italian – a language she doesn’t speak – and the sprawling and strange Take Her Up to Monto, the sleeve of which featured Murphy on a building site in a hard hat and a hi-vis jacket.

She says she turns down “gazillions of tracks where people have thought: ‘Oh, she’ll sing on me dance track, it’ll be good,’” preferring to seek out leftfield collaborators, among them the electronic musician and sound artist Matthew Herbert , the eccentric US house auteur Maurice Fulton and the Sheffield-based dance producer Parrot, AKA Crooked Man . “It just means I can make a different record every time,” she says. “If you’re in a band with four guys for 30 years, you’d be hard-pressed to continually generate new ideas. That’s the flaw in that whole setup.”

There is something cheering about the fact that Murphy has done all this while piloting a profoundly distinctive course through pop, thumbing her nose at what she calls “the status quo that says ‘Don’t do that’ and ‘Keep it simple, stupid’, when you know you can be better than that”. This is the strange thing about her: on one level, she is like other pop stars. She has huge, deathless hit singles to her name: on Radio 2, you are never far from hearing Sing It Back. She has gone viral: a couple of years back, her 2005 track Ramalama (Bang Bang) provoked a TikTok challenge involving running to the nearest mirror and miming along to the chorus.

She has diversified into acting, playing a witch in Netflix’s supernatural drama The Bastard Son & the Devil Himself . She is feted by fashion houses: at this year’s Paris fashion week, Chanel models walked the runway to the strains of Can’t Replicate, from her new album. And she has a rabid following – so rabid that, during an argument, she was confronted by her teenage daughter, who protested: “How would you know? Your life’s perfect! Even your fanbase is perfect!” She notes with a smile that this “is kind of true”.

A few weeks after our meeting, Murphy is due to headline the Royal Albert Hall, before a summer of high festival billings. Her live shows are elaborate affairs, involving extravagant costumes, a testimony to what she calls “a pretty intense attention to detail”. But part of the appeal is the sense that they are always a step away from collapsing into chaos, which might have something to do with her twin inspirations: Grace Jones (“obviously”) and Iggy Pop.

“I go out on stage like him – like a bullet from a gun, straight out – and I commit to the point where it could be dangerous for me,” she says. “Nothing else is more important than I do this show and you really fucking feel what I have to express to you right now. I have had accidents. I’ve smashed my face, right here” – she points to a small scar – “in Moscow, many years ago, because I was head-banging, like really head-banging, and there was a wooden chair and I just … head‑banged into it. The guy in the hospital looked at it and went: ‘We can’t possibly do that, you should go home and see your plastic surgeon!’ Like I had a plastic surgeon on speed dial!” She laughs. “There you go, that’s Moscow.”

It’s the kind of career that I assumed involved a lot of butting heads with record companies, but Murphy insists not. “I’ve had the odd clash, but, honestly, I’ve always got my own way. Why would I think that [a record company] could make decisions for me in that way? I’m quite rock’n’roll; I’m not from a stage school. Even in Moloko, I didn’t have that much to stand up to. I came into it saying stupid shite on a record with me boyfriend. We lived in Sheffield for eight years, making music in our own studio. There were nice middle-class English men at the record label; they weren’t going to come up to Sheffield and tell us what to do. They were petrified of us! Mark was quite gruff; he could be intimidating. That feeling on stage, that it might all collapse – maybe it was something like that that frightened the shit out of them. Nice middle-class English men are terrified of that.”

Equally, she says she doesn’t always feel that she has been taken seriously “beyond my world, where I’m making the work”. Perhaps that is an inevitable result of having so many unusual ideas. She won’t be drawn on whether she thinks the situation would have been different for a male artist. “I’m not a man and there isn’t actually a man that does what I do, so I can’t separate. Pros and cons.”

Besides, she says, she is very happy where she is: successful but adjacent to the mainstream, free to do what she wants. Unlike a lot of artists in middle-age, she isn’t terribly nostalgic for the past. “Culture is fragmented in millions of places, but that’s what makes this the best moment musically that I’ve ever lived in. There’s so much really fucking amazing music being made and I have all the tools available to find and access it.

“I used to hate going into the record shop in Sheffield, trying to sing a track I’d heard in a club to them and them going [snooty voice]: ‘I think you mean this.’ Now, I can just get in there and invigorate myself with music every day, dance to it, work out to it, find out about things. The division between genres and places and times is melting in music and that’s my happy place.”

Róisín Murphy’s sixth solo album is released this autumn on Ninja Tune. She headlines Bluedot festival , Cheshire, on 21 July

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Róisín Murphy announces 2024 UK and European tour amidst puberty blockers controversy

The live shows will kick off in February next year

Following the recent controversy after she shared her views on puberty blockers, Róisín Murphy has announced details of a UK and EU tour, set to kick off next year.

• READ MORE: Róisín Murphy – ‘Hit Parade’ review: an accomplished record marred by controversy

The singer revealed plans for live shows next year in a new update shared on her Twitter/X page this morning (September 15). “Me and the lads are going ON TOUR,” she wrote in the caption. “I’m thrilled to announce both the UK and European tour to celebrate Hit Parade in February and March next year. With full band, exceptional visuals, new songs and old, a little something for everyone.”

She also confirmed that the general on sale for tickets will commence next Friday (September 22), and can be found here .

Kicking off towards the start of next year, the tour will begin with an opening show at the O2 Academy in Leeds on February 8. From there, Murphy will make stops across Bristol, Glasgow and Newcastle, before concluding the UK leg of the tour with a final show at Alexandra Palace in London the following week (February 17).

From there, she will embark on the second leg of the tour, which will start with a show in Amsterdam on March 8, and play through various dates in Germany, Belgium, Poland, Czech Republic, Italy and Switzerland. It will close with a show in Paris on March 21.

Me and the lads are going ON TOUR! I’m thrilled to announce both the UK and European tour to celebrate Hit Parade in February and March next year. With full band, exceptional visuals, new songs and old, a little something for everyone 🖤 General on sale 22nd of September. pic.twitter.com/dM0Afuz0H9 — Róisín Murphy (@roisinmurphy) September 15, 2023

The announcement of the new tour comes after Murphy recently sparked controversy following her views on puberty blockers .

Last month, the singer shared a comment on Facebook using her personal account, criticising the use of medicines to delay the changes of puberty for transgender and gender-diverse youth.

“Please don’t call me a terf,” she wrote. “But puberty blockers ARE FUCKED, absolutely desolate, big Pharma laughing all the way to the bank. Little mixed up kids are vulnerable and need to be protected, that’s just true.”

The comment soon went viral and came as a shock to some fans, particularly given the musician’s long-time support from the LGBTQ+ community. It also led to her issuing a public apology online , admitting that she was “stepping out of line” and vowing to stay out of the conversation going forward.

“I have been thrown into a very public discourse in an arena I’m uncomfortable in and deeply unsuitable for. I cannot apologise enough for being the reason for this eruption of damaging and potentially dangerous social-media fire and brimstone,” she stated.

“For those of you who are leaving me, or have already left, I understand, I really do, but please know I have loved every one of you.

“I will now completely bow out of this conversation within the public domain. I’m not in the slightest bit interested in turning it into ANY kind of ‘campaign’, because campaigning is not what I do.”

Earlier this month, the singer released her new album, ‘Hit Parade’, and reports emerged that her label, Ninja Tune, were planning on donating the proceeds from ‘Hit Parade’ to pro-trans groups .

It was also claimed that Ninja Tune had halted all marketing and promotion for the record, however, Murphy later took to X to deny the claims .

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Róisín Murphy

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• March 19, 2024 Setlist

Róisín Murphy Setlist at Alcatraz, Milan, Italy

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Tour: Hit Parade Tour Tour statistics Add setlist

• Pure Pleasure Seeker ( Moloko  song) Play Video
• Dear Miami Play Video
• Simulation Play Video
• Overpowered Play Video
• CooCool Play Video
• The Universe Play Video
• Crazy Ants Reprise Play Video
• You Knew Play Video
• The Time Is Now ( Moloko  song) Play Video
• Incapable Play Video
• Something More / Let Me Know Play Video
• Sing It Back / Murphy's Law Play Video
• Can't Replicate Play Video
• Ramalama (Bang Bang) Play Video
• Forever More ( Moloko  song) Play Video
• Hit Parade Play Video
• Pure Pleasure Seeker (outro) ( Moloko  song) Play Video

Edits and Comments

4 activities (last edit by arsonist81 , 21 Mar 2024, 00:13 Etc/UTC )

Songs on Albums

• Can't Replicate
• Crazy Ants Reprise
• The Universe
• Forever More by Moloko
• Pure Pleasure Seeker by Moloko
• Pure Pleasure Seeker (outro) by Moloko
• The Time Is Now by Moloko
• Sing It Back / Murphy's Law
• Something More / Let Me Know
• Overpowered
• Ramalama (Bang Bang)

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Róisín murphy gig timeline.

• Mar 16 2024 Verti Music Hall Berlin, Germany Start time: 9:00 PM 9:00 PM
• Mar 17 2024 Forum Karlín Prague, Czechia Start time: 9:00 PM 9:00 PM
• Mar 19 2024 Alcatraz This Setlist Milan, Italy Start time: 9:30 PM 9:30 PM
• Mar 20 2024 X-TRA Zurich, Switzerland Start time: 8:40 PM 8:40 PM
• Mar 21 2024 L'Olympia Bruno Coquatrix Paris, France Start time: 9:00 PM 9:00 PM

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Continuously pushing boundaries in both recording and live-settings, Róisín Murphy’s capacity to be an ever-evolving performer is a spectacle in itself.

With her latest album ‘Hit Parade’, Murphy continues her ever evolving, shape-shifting 30 year career, looking towards the future by joining forces with DJ Koze to conjure blissful music that teems with life and imagination. The warm thump of hip-hop, playful psychedelia, and elegant soulful grooves are all part of Murphy and Koze’s vision here, resulting in a record that’s endlessly replayable even as its melodies become glued to your brain.

After hitching over to Sheffield at 19 to immerse herself in the club scene, Murphy’s chance meeting with local bassist Mark Brydon led the pair to form the celebrated group Moloko, and from there a decorated solo career spanning 5 lauded albums, celebrated EP and single collaborations, and more recently video directing and acting accolades.

Presented by AEG and SJM Concerts

Format: Standing in stalls, reserved seating in tiers

Age: Under 14s accompanied by an adult 18+

Performance Times

Doors:  19.00 Crazy P: 19:30 Internval: 20:15 Róisín Murphy: 20:35 End: 23:00

All timings are approximate and subject to change

“Soulful, joyous and playful.” Loud & Quiet

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Address: Bristol Beacon, Trenchard Street, Bristol, BS1 5AR

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Sinead O’Connor’s Daughter, Roisin Waters, Sings “Nothing Compares 2 U” in Tribute to Mother: Watch

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The post Sinead O’Connor’s Daughter, Roisin Waters, Sings “Nothing Compares 2 U” in Tribute to Mother: Watch appeared first on Consequence .

On Wednesday, a host of musicians came together to honor late Irish legends Shane MacGowan and Sinead O’Connor with a tribute concert at Carnegie Hall in New York City.

Most notably, O’Connor’s daughter, Roisin Waters, paid tribute to her mother with a stirring performance of “Nothing Compares 2 U.”

The concert also saw Bettye LaVette sing “I Do Not Want What I Haven’t Got,” Cat Power put her spin on “The Body of an American,” and Resistance Revival Chorus cover “Thank You for Hearing Me,” among other performances of O’Connor’s music. Additionally, Glen Hansard and Imelda May teamed up to perform MacGowan and O’Connor’s duet “Haunted.”

Among the artists who covered songs by MacGowan and his band The Pogues were Violent Femmes’ Gordon Gano (“A Pair of Brown Eyes”), Gogol Bordello’s Eugene Hütz (“The Church of Holy Spook”), Billy Bragg (“A Rainy Night in Soho,” “If I Should Fall From Grace with God”), The Hold Steady’s Craig Finn and The Mountain Goats’ John Darnielle  (“Sally MacLennane”), and Dropkick Murphys (“The Old Main Drag”).

And as he did during MacGowan’s funeral , Hansard led a rousing performance of “Fairytale of New York” with former Pogues member Cait O’Riordan to close the concert.

Watch fan-captured footage, some of which comes from a Tuesday night rehearsal concert at NYC’s City Winery, below. Proceeds from the concert benefited PEN America.

Roisin Carter – “Nothing Compares 2 U”

Glen Hansard & Cait O’Riordan – “Fairytale of New York”

Craig Finn & John Darnielle -“Sally MacLennane”

Billy Bragg – “If I Should Fall From Grace with God”

Glen Hansard & Imelda May – “Hanted”

Eugene Hütz – “The Church of the Holy Spook”

Sinead O’Connor’s Daughter, Roisin Waters, Sings “Nothing Compares 2 U” in Tribute to Mother: Watch Scoop Harrison

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Róisín Murphy is a singer, songwriter and producer hailing from Arklow, County Wicklow, Ireland who was born on the 5th of July 1973. She was originally the lead singer of the electronica duo Moloko, but went solo in 2005 and has since released two studio albums of her own.

Murphy may have been born and raised in County Wicklow, but her family moved to Manchester, England when she was twelve. This was probably the best possible place to be for a girl on the cusp of becoming a teenager, as her parents had, perhaps unwittingly, moved her to one of the pop cultural hotspots of the entire country. While living there, she discovered her own, 60’s indebted fashion sense thanks to car boot sales and charity shops before becoming a devoted fan of alternative rock, namely bands like the Pixies and Sonic Youth. Unfortunately, her parents split up after three years of living there and moved back to Ireland, but Murphy was adamant that she was staying.

She lived with her best friend for a year before turning sixteen and becoming eligible for a council flat. While being very a musically gifted person, she kept that side of her to herself, not wanting to let her Jesus And Mary Chain-obsessed friends to know that when she sang, she apparently sounded like West End luminary Elaine Page. However, it was exactly this theatrical delivery that she was so ashamed of that endeared her to producer Mark Brydon, who she met while living in Sheffield in 1994. The pair met at a party, began dating and once they realised that they had genuine creative chemistry together, they formed the band Moloko the same year that they met.

Moloko became one of the most beloved cult bands of the 90’s, making genuine waves at the turn of the century with their album “Things To Make And Do” going Platinum mere months after its release in 2000. As Moloko went on however, Murphy became interested in solo work and guested on tracks by the likes of Handsome Boy Modeling School and Boris Dlugosch. Once the band released their final studio album in 2003, Murphy and Brydon had already considered themselves split professionally and personally for just over a year. By 2004, Murphy was already working on her debut solo album with Matthew Herbert on production duties.

Her solo debut “Ruby Blue” came out the following year and was not a commercial success. It was critically adored for how it combined experimental tendencies with old school songwriting chops but it stalled at number 88 on the album charts in the U.K. Fortunately, the album started selling steadily and was eventually certified Silver, meaning that Murphy was able to sign a new record deal with EMI for her second solo album, 2007’s “Overpowered”. Every day was a battle with EMI’s major label machinations but it paid off in the end, with the album hurtling into the number twenty spot sixty-eight places above where its predecessor peaked.

Since then Murphy has been working on several follow up records, occasionally releasing tracks either solo, like “Orally Fixated”, or collaborations with everyone from Tony Christie and The Feeling, to David Byrne and Fatboy Slim. Her third album, “Hairless Toys” was announced in February 2015 for a May release and any fan of pure pop music will be proud to have one of the most unique talents of her generation back in the fold. Highly recommended.

Live-Bewertungen

Before Lady Gaga had hit the world with her eccentric style and persona, there was Roisin Murphy, who essentially paved the road for Gaga. Personally, I prefer her shows over Gaga’s mainly because Murphy keeps her show artistic, but not “over the top just to get the attention of everyone” like Gaga does.

The particular show that I saw Roisin Murphy was a nineteen song set that included “Through Time,” “Dr. Zee,” “Ruby Blue,” and my personal favorite, “Ramalama (Bang Bang).” She took the stage in behind a sheer curtain, wearing a gigantic, short, possible made out of fur or feathers a top of her shirt and pants and a weird flat white hat, singing “Overpowered.” As the song progressed, the curtain opened up but not before toying the crowd by coming in and out of the center split. There is also a big use of the lighting to add to the artistic-ness of the show; but most importantly though, her voice sounds the exact same as her studio versions.

She has a series of jacket, hat and clothes changes throughout the show, all of which include having her pants still on. There are even outfits that include a backwards-no-arm coat and an item that looks similar to two people in costumes attached to her. Yeah…try to imagine that. Both her and most of the people on the stage have a great time using the stage to dance as she sings, or while the instrumentalists take over for a bit. The entire show is engaging and probably more interesting and fun than a Gaga concert.

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Als unangemessenen melden

Irish songstress Róisín Murphy was first noted by critics and fans alike as one half of the electro duo Moloko with her boyfriend of the time Mark Brydon. Unsurprisingly through personal and artistic differences the band parted ways and Róisín embarked on a solo career having used Moloko as a successful launch platform.

She was already well known for her melodic vocal and evocative live performance so a fan base was ready and waiting. Unsurprisingly her two solo endeavours were hugely successful in the UK however due to label disputes Murphy did not capitalise on this success and since 2007 she has performed live very intermittently. Whenever she has played though her devote fan base have been to sing, cheer and dance.

Appearing to the opening tones of 'Let Me Know' Róisín instantly commands the stage and whips the crowd into frenzy as she jumps around to the alt-funk beats. Playing through 'Overpowered' and 'You Know Me Better' before wrapping up with Moloko's 'Forever More' Murphy demonstrates the power of her cult iconic status.

Róisín Murphy is pure fabulous weirdness and always entertaining to watch. All kinds of unusual props and bizarre clothes are scattered around the stage before the band even goes on.

During the show, Ms Murphy will nonchalantly discard one eccentric jacket for a sort of feathered bib, flinging away the rejected garment with a devil-may-care attitude while continuing to rock the house, pulling on a pair of lurid pink pajamas with swiss cheese holes in them.

She beats a bunch of flowers and flings them over all over the stage during a spirited rendition of "Forever more".

She carries around a bag with holes from which protrude the limbs of a bean baggish silver doll, takes it out, cuddles it and then throws it to the keyboard stand.

During "Sing it back" she let the audience take over as they sang it back - belting it out - with enthusiasm.

A memorable show in a top notch venue, no technical glitches, an exquisite slice of surrealism. Thank you, Róisín!

It's been a while since I've seen her live, but her 2016 concert in New York was one of the most memorable nights of my life.

Everything about that show was absolute perfection: the grungy and intimate Music Hall of Williamsburg, fans’ outrageously stunning outfits, Róisín Murphy’s absurd outfit changes verging on drag queen performance, her incredible charisma, the brilliantly talented band, and the show’s eclectic repertoire— ranging from early Moloko albums to Murphy’s latest album at the time, “Take Her up to Monto.”

If you get a chance, I highly recommend seeing her. It's fashion, music, and glamour all very nicely packaged together.

I have mixed feelings about her concert.

It is not for everyone.

Her perfomance is very strange and quirky.

I didn't hear very well her voic.

Sometimes low, sometimes energetic.

I think the whole concert lack coherence.

A partner or co-author could help her put coherence in her concerts.

sadly i could not go,due to a terrible financial situation,,,so sadly i didnt get to go see the one artist i really really really wanted to see...im sad by this ...so i soo wish i could have seen her. one day i guess. but i doubt i will, she would never come to vancouver ,

I have not see a bad gig from this artist. Her uniqueness musically and in style are herstmonceux point, the venue enhanced her performance to an unquestionably level. 10 stars and looking forward for the next gig!

Eccentric doesn't come even close to describing Roisin Murphy's performance and show. Highly refreshing and delightful. No cheesy efforts to connect with the crowd, however slightly distant in that sense.

In the splendour of Somerset House, on a balmy Summers evening, the goddess Roisin took the stage and memorised a very happy crowd.

Awesome costume changes as always! )

Thanks Roisin

Fantastic ever since day 1 never gets stakle- she is a genius a rare beauty that has never had enough recognition in my opinion but hse was the original Art Style Pop Godess

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Róisín Murphy Tourtermine und Tickets 2024-2025 in deiner Nähe

Du möchtest Róisín Murphy auf einem Konzert sehen? Hier findest du Informationen zu allen kommenden Konzerten von Róisín Murphy sowie Tourtermine und Ticketinformationen für 2024-2025.

Róisín Murphy wird derzeit nicht in der Nähe deines Standorts auftreten – hat aber vor, 17 Konzerte in 7 Länder in 2024-2025 zu geben. Alle Konzerte anzeigen.

Nächste 3 Konzerte:

• Barcelona, Spain
• Mannheim, Germany
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