jesus and mary chain darklands tour

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The Jesus And Mary Chain: Roundhouse, London – live review

The Jesus And Mary Chain | Rev Magnetic Roundhouse, London 19th November 2021

With their Darklands tour, the iconic noiseniks The Jesus And Mary Chain turn on the engine of the time machine. They take their London audience back to 1987, the year of the second’s album release.

From within, the dome of The Roundhouse looks like the inside of a spacecraft. A circular construction that once served as a turntable engine shed was converted into an arts venue in the ‘60s. Historically, such buildings contained rotating platforms with rails to turn locomotives in the direction where they came from. Perhaps both metaphors – that of a turntable and spaceship – are fitting to describe the mental journey, driven by the powerful noise engine of The Jesus and Mary Chain. Deriving from the earthly principle of physics and technology, this music overflows with an extraterrestrial drone.

With a fair degree of excitement in the air, the audience is visibly reluctant to express their feelings directly. There is no excess applause or chanting. Perhaps, this is a code of conduct for long-term JAMC fans. Many of those present seem to have had a history of fandom or at least a personal connection to the band’s music. “I remember seeing them at the University of London Union in 1985, they smashed up the equipment on stage”, says Irsh, one of the followers, standing in the first row. Would they smash it up this time? “No, they have calmed down a lot since then”, assures Irsh.

Indeed, the Reid brothers fill the space with a somewhat more pacifying presence. They walk on the stage, accompanied by the chorus from Summer Wine by Lee Hazlewood and Nancy Sinatra. Jim Reid greets the audience with a casual hand-waving and concise description of the “programme of events”: “We are playing Darklands, you know that. Then we’re gonna go off and have a cup of tea and then come back and do a bunch of more songs”. Their trademark sound is in place though. William Reid, whose hairstyle is unmistakably recognisable, plays his Gibson ES-335 with a similarly distinguishable ringing intensity.

While at the Roundhouse, it is hard not to think of The Velvet Underground, both as an influence and a constant reference. On the playlist filling the gap between the support act – the fellow Glaswegians Rev Magnetic – and the headliners, Lou Reed’s Pale Blue Eyes is an unmissable choice. All Darklands songs sound like a sonic love letter to the Velvet Underground and rock ‘n’ roll influences that fed into their concept. Transposed to a higher key, Deep Perfect Morning, with its lulling blues-y pace, and particularly the vocals of Reid bear striking resemblance to Reed. No pun intended.

In one of the interviews from 1992, Jim Reid articulated the idea of American music and culture as a major inspiration: “Blues music was rock ‘n’ roll, before it had a name, before people called it rock ‘n’ roll. I suppose a lot of the things of interest [for us], like television, books and movies, also come from America”. Despite being defined by some writers and particularly by Richard Riegel in Creem magazine as “naked and unadorned with feedback”, Darklands maintains the rock ‘n’ roll continuity.

After the Darklands part is done, the band generously performs songs from most of their albums – Stoned & Dethroned, Automatic, Munki and Barbed Wire Kisses compilation. Such numbers as I Love Rock ‘n’ Roll, Can’t Stop the Rock (a cover of Linda Reid’s song) and Moe Tucker remind me again where this all is coming from.

As the show continues, the level of white noise grows. Embellished with occasional splashes of guitar feedback, Kill Surf City lavishes the waves of distortion and fuzz on the excited listeners. Playing simultaneously, the guitarist Scott Von Ryper and William Reid build up a wall of sound, a metaphorical portal to various decades of popular music history. In that world of distorted harmony, one can pick up on the references he or she likes, whether it’s Phil Spector or The Psychedelic Furs. Nevertheless, this repository bears the name of The Jesus and Mary Chain who also defined the time in music history.

As expected, they return for the encore to play two more from Stoned & Dethroned and two from Psychocandy. The debut 1985 album has been massively quoted in popular culture. When the drummer Brian Young starts playing the inspired-by-the-Ronettes pattern of Just Like Honey, some younger members of the audience inevitably mention Lost in Translation by Sofia Coppola. With Isobel Campbell providing backing vocals, the song maintains the expected balance between bittersweet pop and rock ‘n’ roll. Finishing their set with Never Understand, they give more balm to noise-craving souls. A post-factum gentle ringing in one’s ears is the best memorabilia.

The Jesus And Mary Chain will shortly continue their Darklands tour in Europe – the dates are available here .

The Jesus And Mary Chain can be found on their Facebook | Twitter and Website .

All words by Irina Shtreis. More writing by Irina can be found in her author’s archive .

Photos by Mel Butler, you can find Mel at her website here:

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‘William Reid, whose hairstyle is unmistakably recognisable, plays his Gretsch with a similarly distinguishable ringing intensity.’

No he wasn’t playing the Gretsch – the ‘distinguishable ringing intensity’ is unique to the Gibson ES-330 (in his case, with a bigsby). You can’t possibly make that mistake if you know how these guitars actually sound.

Many thanks for this. It’s Gibson ES-335. Sorted now.

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The Jesus And Mary Chain announced rescheduled ‘Darklands’ tour dates

They've also added two brand new shows

The Jesus And Mary Chain have announced rescheduled dates for their upcoming UK tour in which they will play their 1987 album ‘Darklands’ in full.

• READ MORE: The Jesus & Mary Chain: ‘There’s no place in the world for us’

The shows were initially due to take place in March and April 2020 and were then postponed to February 2021. They were rescheduled once again last week due to the ongoing coronavirus pandemic.

The band have now announced that the gigs will go ahead this November, and they’ve also announced two additional shows at Glasgow’s Barrowland and Manchester’s Albert Hall respectively.

The Jesus And Mary Chain will play:

NOVEMBER 2021 Saturday 13 – Glasgow, Stereo Sunday 14 – Glasgow, Barrowland Monday 15 – Glasgow, Barrowland Wednesday 17 – Manchester, Albert Hall Thursday 18 – Manchester, Albert Hall Friday 19 – London, Roundhouse

The band said that European dates, which have also been postponed from February, will be rescheduled soon.

The Jesus And Mary Chain have also been announced on the line-up of Festival Beauregard in Normandy, France, which is currently set to take place on July 2.

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Last year the band launched a crowdfunding campaign in aid of their touring crew to support them through the coronavirus crisis. They also released a limited edition t-shirt in aid of the campaign, and a Jesus And Mary Chain covers EP by the crew’s band Disciples Of Mary.

“Like so many in the Music Industry our crew are self employed and have not been eligible for Government financial assistance,” the band wrote in a statement. “This fund is intended to do one thing – help our crew to pay their bills.”

After indicating back in 2018 that they were working on the follow up to 2017’s ‘Damage And Joy’, in November the band shared a photo from Devon’s Rapunzel Studios.

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• The Jesus And Mary Chain

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From east kilbride to the darklands: the jesus and mary chain embark on international tour, the jesus and mary chain embark on international tour celebrating darklands.

WHEN I was 17 years old, in 1988, and studying for A Levels at a state sixth form college in Telford new town, Shropshire, I bought a copy of The Jesus And Mary Chain’s first album, Psychocandy, second-hand from a girl in the year above me. Liberated from an uninspiring childhood in the failed utopian experiment that was Cumbernauld, I was the only Scottish boy in the college.

I wore my hair long and cultivated an “indie-rock” image in which open-necked shirts and cast-off waistcoats were staples. I traipsed around the college’s corridors in a wool coat that had, I imagined, been deposited at the charity shop where I bought it by the grieving relatives of the recently departed octogenarian man who had been its previous owner.

My primary requirement of the coat was that it had pockets big enough to contain my beloved Walkman, on which I constantly played the music of indie bands like The Smiths, Echo and the Bunnymen and The Cure. So, when Jovanka, an effortlessly cool English girl of Slavic extraction, needed to jettison her copy of the Mary Chain’s 1985 debut LP, I was the obvious candidate.

Jovanka loved the Mary Chain, she explained, but the album had been a present from a boyfriend with whom she had recently, and painfully, split up. Keeping the record was bordering on masochism, and, so, it was on offer to me at a very reasonable price.

I still have the LP to this day, complete with the boyfriend’s dedication written inside the cover, and then, for discretion’s sake, carefully crossed out by Jovanka (you can still read the original message: “To Jov. Merry Christmas. Love Gerry XXX”).

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Listening to Psychocandy was my first really serious engagement with the Mary Chain, the band that was started by working-class, Scottish brothers Jim and William Reid in the early-1980s. Although I was not yet an aficionado, I already had an affinity with the group.

They hailed from East Kilbride, a new town that was, in many ways, a Scottish equivalent of Telford, a post-industrial Birmingham overspill town that sits incongruously in the green and pleasant county of Shropshire, made famous by the Victorian poet AE Housman. They were clad in black, wore sunglasses indoors and took themselves too seriously. I liked them.

An avid reader of Melody Maker, Sounds and, the indie kids’ bible, the NME (which was simply too cool for its full title, the New Musical Express), I’d seen the Reid brothers photographed dozens of times. The uncompromising, image-conscious Scots often featured on the covers of the music papers, glowering indifferently from behind their purposefully dishevelled fringes.

They had been propelled from demo tape-recording obscurity to an album contract with the Blanco y Negro record label (a subsidiary of media giant Warner) in just two short years. Psychocandy – which featured a drummer by the name of Bobby Gillespie (below), who the Mary Chain had borrowed from an emerging rock band called Primal Scream – marked a notable highpoint in the guitar-driven, post-punk “alternative”, “indie” music that emerged in the early to mid-1980s.

If this music was “alternative”, it was, first-and-foremost, an alternative to the computerised synthesiser pop of artists such as Gary Numan and The Pet Shop Boys. Their “indie” credentials came, not only from their independence from commercial popular music, but also their expression of a burgeoning dissatisfaction among working-class and lower middle-class youth with the right-wing zealotry and moral conformism of Thatcher’s Britain.

By the time Psychocandy was released, in November 1985, the Great Miners’ Strike of 1984-85 had gone down to agonising defeat. The Thatcher government’s relentless assault on the trade unions and, therefore, Britain’s heavy industry had already touched the Reid household – Jim and William recorded their first demos in 1983 using equipment bought with money their father gave them when he was made redundant from his factory job. THE Mary Chain – whose early gigs were notorious for a disconsolate violence that the band were keen to shake off – were by no means overtly political, but they provided a bleakly humorous, rebelliously poetic contribution to a growing counter-culture. They may have been happy to admit that they had “no solution” and “nothing to believe in” (as they did later in the song 331/3), but they were always more likely to spit on a Tory than they were to emulate Numan by voting for one.

Psychocandy – on which the Reids offered the darkest, most hilarious double entendre in rock history: “God spits/On my soul/There’s something dead inside my hole” – was unlike anything coming out of the indie scene in the mid-1980s. The band might have come from a new town in South Lanarkshire, but they sounded as if they had got there by way of the Velvet Underground’s New York, the Beach Boys’ California and Johnny Cash’s Tennessee.

The album combined, in songs like Never Understand and Something’s Wrong, the electric feedback, jagged guitars and broken down Americana of the Velvets’ path-breaking 1968 album White Light/White Heat with the perverse, west coast, surfer boy optimism of the Beach Boys. However, on a more melodic, contemplative track, such as Some Candy Talking, you could swear the band had stopped off in Nashville to jam with The Man in Black himself.

As a debut LP it was close to flawless. Or, rather, its flaws (like John Cale’s sonic experiments with the Velvets) were deliberate and inspirational.

The album spawned a legion of imitators and creative emulators. Perhaps the most impressive record in this vein was Loveless, the 1991 album by My Bloody Valentine, which sounded like a poetic love letter to Cale and the Reids delivered in luxurious feedback.

As I drank in the knowingly bittersweet music and lyrics of Psychocandy, the connection with The Velvet Underground became increasingly apparent. What I didn’t realise then, in my white teen ignorance of black music, was the debt it also owed to Motown and its very particular take on Phil Spector’s much-vaunted “Wall of Sound”.

There was a lot going on in this album, created by a couple of working-class boys from a new town built to house the erstwhile denizens of Glasgow’s slums. Suitably impressed by Psychocandy, I soon moved on to the Mary Chain’s second album, 1987’s Darklands.

Forget the platitudes about bands that enjoy debut success finding themselves mired in “difficult second album” syndrome. Darklands was a brilliant and highly successful follow-up record.

Incredibly, for music by an alternative band, the LP peaked at number five in the UK album charts (Psychocandy had risen to no higher than 31st spot). It would prove to be the Mary Chain’s most successful album, by a distance.

The first thing you noticed about the record was how different it was from its predecessor. For sure, the cover – a blurred image of (presumably) the Reids on-stage, set on a black background, with the band’s name and the album title in bold block red lettering – bore reassuring similarities with Psychocandy, but the sound was remarkably divergent.

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Gone was the reverberating feedback that had characterised Psychocandy. This record was cleaner, produced, it seemed, to give breathing room to the 1950s rock ‘n’ roll twang that had been so deliberately obscured by the white noise of the debut album.

Gone, too, was Gillespie, who was a tad busy with Primal Scream’s debut album Sonic Flower Groove (which was released a little over month after Darklands). He was replaced – Echo and the Bunnymen-style – not by another musician, but by a drum machine.

This musical turn may have resulted in considerably higher record sales, but there was no evidence in Darklands that the band were engaged in some kind of populist compromise. The music still had an edge, as if Chuck Berry had played using not his famous tortoiseshell plectrum, but a razor.

The lyrics, too, retained the Mary Chain’s established line in darkly comic desolation. Many a poet would mortgage their soul to be able to pen a metaphor as smart and multi-layered as that from the song Fall (from the B-side of Darklands): “Everybody’s falling on me/And I’m as dead as a Christmas tree.”

A track such as Cherry Came Too, complete with its “barbed wire kisses” and barely concealed sexual double meanings, seemed like the fruit of a collaboration between the Reid brothers and Johnny Cash on the Cathkin Braes on an especially windy Tuesday afternoon. The Beach Boys-style chorus shone a bleached orange, saccharine light on a love song that compared the object of desire to “the trigger itch in the killer’s hand”.

FAR from selling out to sell big (although the Mary Chain never hid their desire to reach a large audience or, for that matter, their wish to appear on Top of the Pops), the band’s shifting musical style was, first-and-foremost, about keeping things interesting for themselves. In an interview in 2011, Jim Reid explained: “we tried to reinvent ourselves with every album.”

“I think it’s fair to say that… Stoned & Dethroned and Psychocandy are at opposite ends of the spectrum. But it would just have been too boring to record Psychocandy two, three and four etc.”

What followed Darklands was a largely successful series of reinventions, with studio albums: Automatic (1989), Honey’s Dead (1992), Stoned & Dethroned (1994) and Munki (1998). None of these records achieved the commercial success of Darklands, but they won the band admirers.

Tennis champion Steffi Graf was spotted coming out of one of their gigs in Germany. She told an enquiring journalist, quite simply, “I love their dark music”.

Meanwhile, in the states, indie rock aristocracy The Pixies recorded a searing cover version of Head On from the Automatic album (“And the world could die in pain/And I wouldn’t feel no shame/And there’s nothing holding me to blame”). Then, in 1998 and ’99, the band suffered a long, acrimonious collapse, sealed by them completing a tour of the US and Japan without William, who had walked off stage 15 minutes into a show in Los Angeles after his brother attempted to perform while visibly inebriated and barely able to stand.

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It took eight years for bridges to be built to the point where the Mary Chain could reform, and another 10 before the 2017 studio album Damage and Joy could be released.

Now, as the band embark on an international tour celebrating Darklands, is as good a time as any to reflect on just how scorchingly good the Mary Chain were when they kicked their way into the public consciousness in the 1980s. As William (Wordsworth, not Reid) put it: “Bliss was it in that dawn to be alive/But to be young was very heaven!”

The Jesus And Mary Chain’s Darklands tour begins at Stereo in Glasgow on November 13. For details, visit themarychain.com

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Jim Reid Explores The Jesus And Mary Chain’s ‘Darklands’

The Jesus And Mary Chain's debut album 'Psychocandy' was a feedback strewn line in the sand.

The band's ear-bleeding sound shredded classic pop – the girl group era, Spector's hits, surf pop, pre-Beatles rock 'n' roll – into a million pieces, while their blunt, ultra-short live shows attracted acrimony and violence.

With Alan McGee's instantly infamous 'art as terrorism' quote ringing in their ears, The Jesus And Mary Chain's central duo Jim and William Reid opted for something different on 1987 follow up project 'Darklands'.

Shorn of feedback, it revealed a songwriting duo infatuated with classicism while adding a brooding sense of introversion; utilising drum machines, The Jesus And Mary Chain re-positioned themselves as black-clad purveyors of petrol-scented rock 'n' roll with a mechanised beat.

Soaring to undreamt of heights – 'April Skies' became a bona fide hit, while 'Darklands' itself broke into the UK Top 10 – The Jesus And Mary Chain became an unlikely household name. Indeed, 'Darklands' is any many ways a greater summation of the band's sound than their seminal debut – the brooding songwriting, the 60s elements, and the pervasive sense of being trapped on the margins.

With The Jesus And Mary Chain playing 'Darklands' – and it's associated singles and B-sides – on a variety of UK shows this week, Clash caught up with Jim Reid to discuss their influential album, their future plans, and why they still feel like perennial outsiders.

– – –

Your debut album ‘Psychocandy’ was a colossal opening statement. After its release, did you purposefully seek out a different path?

We definitely did want to do something different. The vibe at the time was that a lot of people were saying, ‘Psychocandy’ is great but you’re going to ruin it… split up! You can’t top that record! So we were a bit put out. And say, probably six months after ‘Psychocandy’ we were a bit lost, and a bit in need of direction. So we stepped back a bit. There’s two years between those records, and that was because we just needed to go back and re-think it and decide what we wanted to do.

We were pretty sure what we didn’t want to do. We didn’t want to make ‘Psychocandy’ No. 2 which there seemed to be a lot of pressure on us to do. I think a lot of people would have been happy with that. But to us, there would have been no point so we went away and came up with a different idea of The Mary Chain – which is, I guess, what you do with every album… you kinda reinvent your band with each new record.

‘Darklands’ is marked by the use of drum machines, but you’d experimented with those since the beginning of the band, hadn’t you?

That’s right. I – we – have always been suckers for that rock ‘n’ roll sound done with a drum machine. You hardly ever hear it. Stuff like Metal Urbaine. There were others. It’s just a great combination. Drum machine and rock music. It’s not very often explored. Part of it was that we didn’t have a drummer, as well. We could have gone either way – we could go down the drum machine route, or go down the drummer route. We didn’t have a drummer so the decision was made.

On ‘Psychocandy’ the vocals are often battling against all-out noise, but on ‘Darklands’ they’re much more distinct. Where did that shift come from?

I’m not one of those singers that does vocal exercises and stuff like that… it’s much more straight forward than that. I suppose, if anything, ‘Psychocandy’ the noise got talked about a lot, and we started to think: well, hang on, what about the songs underneath the noise? So I guess we were pushing the songs up-front in ‘Darklands’. It’s more of a song-driven album. There was nothing to get in the way of that, really.

It’s a hugely productive period for the band – even the B-sides have become fan favourites. Were the two of you writing a lot during this time?

Yeah. The B-sides had a freer vibe about them because there was less pressure. There’s a kind of attitude with a B-side of fuck it, you’re getting this one for nothing so anything goes! And so you tend to just think, well, let’s try out something else, do different things.

I personally think some of the Mary Chain B-Sides are some of the best records we ever made. And we’re doing quite a lot of them on this tour. We’re doing two sets – obviously the ‘Darklands’ set, and then another set of seven or eight songs that are B-sides and singles. I love those B-sides from that period onwards. ‘Psychocandy’ the B-sides were just kinda studio fuck-arounds, really, but by the time we got to ‘Darklands’ we started taking them a bit more seriously.

The singles on this album are absolutely golden – in terms of sheer muscle memory, can you remember recording ‘Happy When It Rains’ for example?

I mean, it was all pretty quick. And it just seemed to go in a blur to be honest with you. It seemed as though we were on fast forward at that time. I mean, once we got it up and running it just all fell into place… to be honest, I can’t remember it! I can’t remember recording that. It was a fairly fast record to make. But I don’t have that many memories of it… which is weird, because we were actually sober in the studio at that time!

Does sobriety have a part to play in ‘Darklands’, then?

We were always sober up until I think ‘Stoned And Dethroned’… it started to slide a bit in terms of discipline. We’d bought the Drugstore, which was our own studio, and unfortunately it had about three pubs within gobbing distance. So that was that!

How did it feel to be in the Mary Chain at that point? The rhetoric around ‘Psychocandy’ had placed you very firmly as outsiders, which must be a tough role to weather under?

It was nerve-wracking and stressful. We felt pretty good about ‘Darklands’ but we weren’t sure if everybody was gonna go with it. We weren’t sure if everyone was going to go: fuck it… no feedback? What the fuck?! That’s what we signed on for, we’re not into this! It was a bit scary, but we just had to hold our nerve… which is what we did.

To us, it was all about trying to make a record, and knowing you’re going to look back on this record one day… and we’ll regret the decisions we made. So fuck it: no matter what happens let’s not make it that that’s what happens! Let’s make a record we can stand by, and say: yeah, I did that. And we hoped that people would be listening to it in 30, 40 years time, and here we are – we’re doing a tour of it! Thousands of people are coming. So, job done, really.

Actual bona fide hit singles, too. You’re on Top Of The Pops with this record! Was that unexpected?

It kinda was. When we were doing ‘Psychocandy’ it seemed like there was no route through for the Mary Chain. It seemed like the deck was stacked against us almost. Although it sounded like a more commercial sounding record – sonically – it didn’t really sound like what was going on in the charts at the time. So we gave up on the idea of hits… we didn’t expect it.

We brought out ‘April Skies’ to dip our toes in the water… we were actually still making the album when that single came out. And it was a hit! And that was like: fuuuuuucking hell! It was a huge surprise. It was great – watching T-Rex as a kid on Top Of The Pops, that’s what it was all about.

I t’s remarkable to watch those vintage episodes of Top Of The Pops now, because it’s such an anodyne atmosphere. It must have been a curious experience, put it that way.

Yeah. I was shitting myself, basically. It’s our one and only Top Of The Pops performance, by the way. We never got asked back! Seriously. I’m naturally shy, and I found the whole experience excruciating. And the only way I could get through it was to get absolutely fucking rat-arsed. Which seemed to annoy absolutely fucking everybody at the BBC! They just thought we were the most unprofessional bunch of fuck ups they’d ever seen. Which is probably true! But you do what you do to get through a situation, and that’s what I did. We had other hit singles after that, but they never ever asked us back on Top Of The Pops again.

Performing this material now must be an interesting experience – you’re different people, and different musicians, too. Is this a different take on the record?

No, it’s gonna be the record. We sold tickets for people that want to hear that record played in its entirety. I personally hate it when you go and see bands and they do some sort of jazz fusion version of the record. I went to see Lou Reed in the 90s, in a tiny little place in New York. He played this song for about four minutes, and I thought: there’s something familiar about this, but I don’t know what it is. And then suddenly I realised it was ‘All Tomorrow’s Parties’ and I thought, fucking hell talk about murdering your own song?!

I don’t want to be one of those. If you like the album, it’s going to be that. There’s a real drummer on it so it won’t have the mechanical drumbeat, but if you like the album you’re not going to be disappointed by the way we put it across. There’s no reggae versions, there’s no jazz-funk. It’s just that album, basically.

Coming up to date, your previous album ‘Damage And Joy’ was fantastic – will you be aiming to make a follow up in the near future?

We’re recording a record. We started recording an album just before COVID hit and then obviously we couldn’t continue with it, but we were in the studio last month for the first time in two years… so we’ve resumed the recording of that album, which should be out hopefully sometime next year. Probably towards the end of next year, as we’ve still got to mix the fucker. But we’re working towards a new record.

New generations have cited the Mary Chain as an influence – do you still feel like an outsider band?

Yeah. We’ve never really been accepted. It’s one of those things… we’re out on the peripheral parts of the music industry just doing our thing. That’s just what we do. In a way, we’re comfortable in that. Our brief flirtation with pop stardom in the 80s… it was scary. I don’t know if I liked it. I like being in our own little corner getting on with what you like to do. You bring a record out every now and again – some people get it and a lot of people don’t listen. So be it! That’s OK with me.

Have you read Bobby Gillespie’s book yet?

Is it out yet?!

It is, yes.

I didn’t even realise that. I knew there was a book in the works. I must read. But we’re thinking of doing a book at the moment. A Mary Chain book. But not either one of us personally, just one about the Mary Chain.

How does it feel to go back down these little rabbitholes of your memory?

I mean, sometimes it’s painful. Sometimes it’s pleasant. I guess like anybody – there’s bits of your life that you look back on and think, fuck, I could have done that differently. Well, y’know, the thing is with being in a band is that you’re doing it in front of everybody. Lou Reed called it growing up in public. That’s what it’s like being in a band. All your mistakes are in front of an audience.

Catch The Jesus and Mary Chain playing 'Darklands' in full at the following shows:

November 18 Manchester Albert Hall 19 London Roundhouse

Words: Robin Murray

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The Jesus and Mary Chain on Tour

Early on, the Scottish alternative rock band Jesus and Mary Chain were known for short and feedback-heavy live shows that took cues from aggressive punk and industrial bands. Although the group eventually toned down their confrontational tendencies, they instead channeled their penchant for noise into dark and moody shows with plenty of propulsive grooves and raucous riffs.

Over the years, The Jesus and Mary Chain have appeared at Coachella, opened for Nine Inch Nails and celebrated the 30th anniversary of their album Psychocandy in 2015 with the Psychocandy Live tour.

The Jesus and Mary Chain in Concert

The Jesus and Mary Chain were originally formed by brothers Jim and William Reid in the early '80s. After releasing their debut single, "Upside Down," in 1984 on legendary label Creation Records, the group signed to Blanco y Negro to release their 1985 debut, the seminal Psychocandy. At this point, the group's lineup featured another future rock star, Primal Scream's Bobby Gillespie, on drums, and their music incorporated inspiration from acts such as The Shangri-Las, The Stooges and The Velvet Underground.

From there, The Jesus and Mary Chain streamlined their sound into something moodier and even poppier, which helped propel 1987's Darklands and 1989's Automatic to U.K. album chart success. The latter album even spawned two alternative radio hits in the U.S., as "Blues From a Gun" topped the Billboard modern rock chart, and "Head On" — soon to be covered by Pixies — peaked at No. 2. As the '90s progressed, The Jesus and Mary Chain continued to find success, including with 1994's "Sometimes Always," a duet with Mazzy Star's Hope Sandoval that peaked at No. 3 on the alternative chart.

Although the band split up in the late '90s, they reunited in 2007 and have toured regularly since then. In 2017, The Jesus and Mary Chain released a new studio album, Damage and Joy, the first album since 1998's Munki. The band has continued to enjoy notoriety and success thanks to some subtle pop culture nods: The 1985 song "Just Like Honey" was used in a pivotal scene in 2003's Lost in Translation, while Ben Gibbard namechecked the group in Death Cab for Cutie's "We Looked Like Giants."

They put on a nice show with a lot of effort Much better than a few years ago on Landsdowne St.

Blew the Stars Out of the Sky

I have seen the JAMC before. This was their Best. They came out of the gate like a raging bull and blew the Stars Out of the Sky with one great hit after another. Everyone in the crowd was dancing and going crazy. Then they transitioned into some of their newer songs from Damage and Joy such as Mood Rider and Always Sad. Solid songs. The JAMC then went deep into their archives halfway through the show and performed some hits from Psychocandy and Darklands. These were well received and took me back in time to a dark and moody 1989. The JAMC wrapped up a high energy show with a feedback psychedelic extravaganza full of flashing strobe and dry ice. It's was an awesome experience. I have seen the JAMC before, but never like this really. They were just so passionate and wild and enthusiastic. If you have a chance to see them. Go. Get your ass off the sofa. Shut off the Netflix and go see some awesome live Rock and Roll.

JMC digging in the vault

JMC played almost two hours of their best spanning the whole catolog with some they hadn’t played in over a decade. They sounded great. I got lost in a trance of sweet overdrive fuzz and wahwah!

First time seeing them since lollapalooza in the 90's and was not disappointed.

The brothers made my night

The Brothers Reid, aka, The Jesus And Mary Chain, rocked the joint! The band was tight, and the set list was all their top speed hits, including a couple new hits from their new record. It was a memorable night elegantly capped off with a free JAMC poster handed out at the exit door. One gripe: the ultra bright LED strobe lights flashed from the stage into the audiences faces was overdone. Back off on the blinding lights so the audience can focus more on the music.

Typical Reid Brothers

The Reid Brothers, along with their three merry sidemen, played fuzzed out JAMC jams behind their typical wall of smoke. Jim Reid up front, all the rest backing him up, with William on the right. Not much to look at, never very dynamic. But great Jesus & Mary Chain tunes.

The Jesus and Mary Chain Great show

this the best show i have seen from them. They played almost 2 hours! The Warlocks were great and a good fit.

The Jesus and Mary Chain!!

First time seeing this band and they were awesome! It made me want to see them again live. Definitely recommend.

JAMC were really good

But I wish I could say the same of a couple of concert-goers. I get enthusiasm, a little singing, a little dancing, a few pics, maybe a short video, maybe an exchange of words between songs, or even a hushed comment during the songs. Fine. Enjoy yourselves. However, if you want to talk/shout over the music non-stop, like you're in a bar and you don't give a shit what's on the sound system, or like it's your own living room and you can replay your Netflix any time you want, maybe consider that other people are there to enjoy the show as opposed to hearing your loud mouths punctuating every moment. Go talk in the back, go into the lobby or maybe leave the venue altogether because obviously you aren't there to watch the show. JAMC were very good. It was nice hearing the new songs and a great variety of favorites and a couple deep cuts from most of their career. They played well and feel like they're back in a groove.

JAMC was OUTSTANDING!!!

JAMC is one of my all-time most favorite bands and have been so since the early 90's. I saw them in '95 at SDSU with Mazzy Star. They gave a rock solid perfomance, absolutely impressive. William's guitar was awsome and innovative as always. Jim's lyrics were true to form. The band was tight and truly delivered. Outstanding concert!!!!!

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The Jesus & Mary Chain: why 'Darklands' marked a huge turning point for the band

The cult alt rockers will return to play the seminal album in full next year

Skiddle Staff

Last updated: 22nd Oct 2019

The highly anticipated second album from The Jesus and Mary Chain  landed on 31 August 1987, adding another potion to the cult alt rockers' complex sound cauldron.

Stepping back from distortion and anti-pop tropes, in Darklands  the Reid brothers moved towards a sound that seemed to satisfy pop culture; sticking to their bleak and gloomy tales, but offering a new vulnerability and sense of hopeless romance.

For the legendary band formed in East Kilbride, Darklands was massive departure from their highly successful first album. Here's five reasons why...

Bobby Gillespie (later of Primal Scream) left the band

It may come as a surprise that before the days of Primal Scream, the paisley-suited Scot-scarecrow Bobby Gillespie was the band's drummer. His dear friend Douglas Hart, the bassist of JAMC, had recruited Gillespie after the original drummer left. Nonetheless, Gillespie was not the most gifted drummer.

Despite Pyschocandy' s flawless sound, Gillespie's style of drumming was minimal, with his drum kit consisting only of a snare and a floor tom, which he played standing up. This may have been good showmanship, but Gillespie later admitted that it was due to a lack of his own ability.

One year before the release of Darklands , Gillespie left to focus on Primal Scream. This allowed the Reid brothers to replace his drums with a drum machine, elevating their sound to not just simple reverb, but to incredibly complex and successful dystop-pop.

The band split from Alan McGee

The legendary Alan McGee signed The Jesus and Mary Chain to the mighty Creation Records at a soundcheck in 1984 in a one-off deal. Under his management, the band became an unstoppable force. Due to the nature of the deal, the two split not long after in 1986.

McGee has since distanced himself from love of the band, and whilst there is no definitive answer as to why McGee so easily swept aside JAMC, the band later signed to Blanco y Negro - a branch of Warner Music. This allowed them full creative freedom to experiment with their sound.

This benefitted both parties – McGee went on to worldwide success with Oasis and Primal Scream, whilst JAMC had a shot at the big-time with a world-renowned record company. Whilst Darklands had huge critical success, Jim Reid admitted in a Guardian interview that at Blanco y Negro “…nobody cared about us.”

Almost 30 years on from signing them for Creation, Alan McGee took over as the band’s manager once more. 

They left violent and compact sets behind

Their shows performing Pyschocandy had become notorious for high belligerence and violence with low musical competence. Most notably, a 1984 show at Camden's Electric Ballroom where the band turned up an hour late and played a mere 15-minute set before disappearing off stage drunk.

With Darklands , other than being kicked off CBS in 1987 for refusing to change their name to ‘The J. and M. Chain’ (to satisfy an American audience), it seemed the band had turned a new leaf, and were able to play competently through their live sets.

"There’s always a fight going on in the Reid brothers’ world, but this time it’s not with the audience" wrote Sputnik Magazine . The band were still drinking and taking drugs heavily, but gone were the days of punch-ups and public enemy status. With Darklands , the boys from the faceless East Kilbride had made it for good.

They had tasted chart success

Whilst Pyschocandy had established The Jesus and Mary Chain as a cult phenomenon, the reception of Darklands had landed the band with an entirely new fanbase and a whopping 5th place position in the UK album chart.

It is the highest-peaking album the band have produced to date, and had a special mention in the esteemed '1001 Albums You Must Hear Before You Die' book. The chart success had also allowed them to establish larger audiences in Europe and The US – landing them future slots on MTV, Coachella and Lollapalooza.

Their ability to do this whilst retaining their hardcore fanbase is something that most fail to replicate. 

The mentality changed

Riding on the back of an extremely successful debut album, the band already had the formula for success, one they could’ve easily replicated. But, being the antagonists to themselves, their record company and the world, The Reid brothers were set on gambling it all away for something new.

"It seemed to us that we’d done Pyschocandy and everybody wanted us to do Pyschocandy II and we reacted against that. A lot of people said you’ll never follow it up,’ Jim said in 2008.

Having gathered the expectations of the public and the press, the Reid brothers went to the studio and made Darklands , which defied any hope of a Pyschocandy II . The press sung its praises, failing to acknowledge the unjust pressure they had inflicted on the band. But the band were gifted enough musicians to take such a high-stakes risk and have it pay off. 

Next year, The Jesus and Mary Chain return to perform Darklands in its entirety. Sign up for tickets to their Manchester show below.

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The Jesus and Mary Chain : Darklands

Post-Gillespie, post- Psychocandy , Jim and William Reid reduced the sugar and fuzz, letting macabre stiffen the melody. Darklands is the densest beast in the Jesus and Mary Chain discography. Completely automated drums and a preoccupation with the dismal side to life cast it in contrast to the debut’s hazing Wilson fuzz box, or Stoned and Dethroned ‘s knowing tranquillity. Confinement imagery looms large, particularly that which life springs on the individual, rather than an angst of fashion or pre-determinism. The themes of rain, self-demolition and heartbreak in the most vindictive sense clutter the mindset of these songs. This time the girl is in league with the world against our protagonist, and the manic confusion that made all OK won’t push the buttons any more. The party is over.

Musically, the Mary Chain reference rocks annals in a vein that fits this album title. Those reference points which aren’t glooming to begin with are transmitted with a stark drizzling brush. The title track hacks the grandeur of Bowie’s “Heroes” into a stained Velvet Underground cast. William’s on vocals, speculating about throwing himself into a “ river of disease .” Thus begins a series of desolation sonnets. “Deep One Perfect Morning” argues that it’s “ better to paint my hate on the walls ” before thoughts turn backwards.

There’s a knack for the sardonic here that falls into the same tradition as the most scathing blues and Blood on the Tracks . “Fall” signs out “ dead as a Christmas tree .” “On the Wall” begins stating “ unlike the mole, I’m not in a hole .” However the situation soon sours likened to that of a doll on display, with the added cachet, that “ dolls can’t see anyway .” Meanwhile, love, sex and adulthood are practically separated. “ Happy When It Rains ” plugs “ into her electric cool ” and falters. “Nine Million Rainy Days” anticipates The Cure’s Disintegration via Johnny Cash. With no more “limbs to break” it concludes: “ all my time in hell was spent with you .” “Cherry Came Too” dismembers Elvis and Orbison lust with a Leonard Cohen despair. From “ making love to the sound of the scream ” to pleading “ come on and drag me down ” in moments. The instrumentation is buoyant given the circumstances.

With a final flourish, there’s redemption. Like some never-was directors cut of Lou Reed’s Berlin , “ there’s something warm in everything .” The rain and romance are forgiven. It’s a further testament to the Reid’s song writing that Darklands looks and references like a death knell, but also sounds like a classic rock record. The “Sympathy for the Devil” backing on “Nine Million Rainy Days” might be ironic, but Sticky Fingers is more than traced, filtered like Tonight’s the Night and all of the above into a potent mixture.

Label: Blanco y Negro

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The jesus and mary chain: the darklands tour in europe.

Following the dates in Scotland, The Jesus and Mary Chain will play in England and then continue the tour in the EU. Initially scheduled for March and April 2020, the Darklands tour was postponed due to the pandemic. The European dates will finally take place in late November and December, with the band sweeping across […]

The post The Jesus and Mary Chain: The Darklands tour in Europe appeared first on Louder Than War .

Following the dates in Scotland, The Jesus and Mary Chain will play in England and then continue the tour in the EU.

Initially scheduled for March and April 2020, the Darklands tour was postponed due to the pandemic. The European dates will finally take place in late November and December, with the band sweeping across eight countries (mostly Northern Europe, Germany and France, with one date in Italy). With the tour referring to their pivotal record from 1987, the iconic noiseniks will perform the album in full.

During the coronavirus crisis last year, The Jesus and Mary Chain announced a crowdfunding campaign in support of their touring crew. Luckily, the community of fans is huge.

The whole list of dates is on the official website of The Jesus and The Mary Chain. .

All words by Irina Shtreis. More writing by Irina can be found in her author’s archive .

Source: louderthanwar.com

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The Jesus And Mary Chain Announce 2024 Australian Tour To Celebrate 40th Anniversary

The Jesus And Mary Chain has announced their Australian Tour for the year 2024 which they are taking to celebrate their completion of 40 years together as a band. The tour is supporting their newly released album titled  ‘Glasgow Eyes’. The tour is going to be of five days and this album is going to be their 8th.

The 5-day tour will kick off at Sydney (Eora) on Thursday, 1st August. They are going to perform at the Enmore Theatre on Thursday. After four days of full performing, they are going to wrap the tour on the 5th day, by performing at the Astor Theatre in Perth (Boorloo) on Thursday, 8th August.

The Jesus And Mary Chain – ‘Just Like Honey’

The tickets for the tour would go on sale at around noon AEST on Wednesday, 8th May. There is also going to be a pre-sale which is going to go live on Friday, 3rd May and the timing would remain the same.

This tour of 2024, is happening after a long gap of five years. The last time ‘The Jesus And Mary Chain’ performed in Australia was in the year of 2019 in the month, of March.  They took the tour to support their 2017 released album titled ‘Damage And Joy’.

The Jesus And Mary Chain Australian Tour, 2024

Monday, 1st August – Eora/Sydney, Enmore Theatre

Wednesday, 3rd August – Meanjin/Brisbane, The Tivoli

Thursday, 4th August – Naarm/Melbourne, The Forum

Saturday, 6th August – Kaurna/Adelaide, Hindley Street Music Hall

Monday, 8th August – Boorloo/Perth, Astor Theatre

You can grab the tickets from here.

Further Reading

Sia Releases New Single ‘Incredible’

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Jim Jefferies Announces 2024 Australian Tour

The post The Jesus And Mary Chain Announce 2024 Australian Tour To Celebrate 40th Anniversary appeared first on Music Feeds .

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The Jesus And Mary Chain Announce Aus Tour To Celebrate 40th Anniversary

It also comes in support of their just-released eighth album, ‘Glasgow Eyes’.

The Jesus And Mary Chain (Supplied)

The Jesus And Mary Chain have announced a five-date Australian tour to celebrate their 40th anniversary as a band, hitting all the regular hotspots this August.

The trek will kick off in Sydney (Eora) on Thursday August 1, with the iconic Scottish alt-rockers set to take over the Enmore Theatre. They’ll up head to Brisbane next, playing The Tivoli on Saturday August 3, before rolling on south to play The Forum in Melbourne (Naarm) the following night (August 4). The week after that, they’ll wrap the tour up with a show at the Hindley Street Music Hall in Adelaide (Kaurna) on Tuesday August 6, and the Astor Theatre in Perth (Boorloo) on Thursday August 8.

Tickets for all five shows go on sale at 12pm AEST next Wednesday (May 8), following a presale that kicks off at the same time this Friday (May 3) – head here for all the info on both sales.

The tour comes a little over five years since The Jesus And Mary Chain last made it over to our shores, with their last Australian tour going down in March of 2019. That trek served to promote their 2017 album Damage And Joy (a record that infamously earned a one-star review from TheMusic.com.au ), which they followed up just weeks ago with the March release of Glasgow Eyes .

In a review of a show from their last Australian tour, TheMusic.com.au described The Jesus And Mary Chain’s live performance as “a truly rollercoaster set that showed why [the band] will forever be etched in the history of alternative rock”.

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THE JESUS AND MARY CHAIN

‘40 years’ australian tour.

Thursday August 1 – Eora/Sydney , Enmore Theatre Saturday August 3 – Meanjin/Brisbane , The Tivoli Sunday August 4 – Naarm/Melbourne , The Forum Tuesday August 6 – Kaurna/Adelaide , Hindley Street Music Hall Thursday August 8 – Boorloo/Perth , Astor Theatre

Tickets: sbmpresents.com

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Presented by: SBM Presents

One of the most influential bands of their generation and beyond, The Jesus and Mary Chain mark their 40th anniversary in 2024 with a return tour to Australia in August!

From the moment the Reid brothers (Jim and William) first pressed the record button on their Portastudio in the early 1980's, the intense, sometimes brutal, often darkly romantic music they made has always felt like past, present and future smashed together, alchemising into something startling.

Consistently defying musical boundaries, blending intense melodies with raw emotion to create a mesmerising sonic experience, JAMC anthems such as Just Like Honey, April Skies and Happy When It Rains are timeless statements of artistic excellence. Shaping the post-punk landscape with a legacy that continues to inspire awe and reverence.

From their origins on the outskirts of Glasgow, The Jesus and Mary Chain have gone on to influence many of music’s greatest minds, and are consistently referenced as a chief source of inspiration for the likes of My Bloody Valentine and Nirvana. 1985’s Psychocandy is widely considered to be one of the most influential post punk records ever released.

With new album, Glasgow Eyes in hand, the duo continue to seamlessly fuse electronica and rock with as much innovation as they’ve always had. Embracing their punk roots, while maintaining their anarchic spirit.

As outsiders who shaped the very fabric of British music history, The Jesus and Mary Chain stand apart yet are one of the most influential acts of the modern era.

Jim Reid states that, "We've never fit in anywhere, and that's just fine with us. We are the party, and that's all that matters.”

Don't miss your chance to experience The Jesus and Mary Chain as they roll though your town!

Running Times

Times are approx. and subject to change at any time.

Astor Theatre Doors: 7pm Show Commences: 7.30pm

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• www.enmoretheatre.com.au
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The Jesus and Mary Chain to perform ‘Darklands’ in UK, Europe on 2020 tour

Five years ago, The Jesus and Mary Chain set out to perform their noise-pop debut Psychocandy in full. Now the Reid brothers will follow that up with a tour of the U.K and Europe early next year during which they’ll perform their follow-up, 1987’s Darkands , each night.

The tour opens in Glasgow in March 20 and will feature three U.K. performances before heading to Europe for shows in Sweden, Denmark, Germany, the Netherlands, Belgium and Italy through April 4.

Tickets for all of the shows go on sale at 10 a.m. BST Friday. See the band’s website at thejesusandmarychain.uk.com for more details.

The Mary Chain began playing their 1985 debut Psychocandy in full with shows in London in late 2014 , and brought that tour to the United States the following year. The 1987 follow-up, recorded with drum machines after original JAMC drummer Bobby Gillespie left to focus on Primal Scream, generated the singles “April Skies,” “Happy When it Rains” and the title track.

The band released its first new album in 19 years, Damage and Joy , in 2017.

See the Darklands tour dates below.

The Jesus and Mary Chain play Darklands

March 20: Barrowlands, Glasgow, UK March 21: Albert Hall, Manchester, UK March 22: Roundhouse, London, UK March 24: Cirkus, Stockholm, Sweden March 25: Tradgarn, Gothenburg, Sweden March 26: Grey Hall, Copenhagen, Denmark March 28: Live Music Hall, Cologne, Germany March 29: Melkweg, Amsterdam, Netherlands March 30: Ancienne Belgique, Brussels, Belgium April 1: Alcatraz, Milan, Italy April 2: Backstage Werk, Munich, Germany April 3: Schlachthof, Wiesbaden, Germany April 4: Astra, Berlin, Germany

PREVIOUSLY ON SLICING UP EYEBALLS

• Watch: The Jesus and Mary Chain perform ‘The Two of Us’ with Sky Ferreira on Colbert
• Watch: The Jesus and Mary Chain, ‘Mood Rider’ — new video off ‘Damage and Joy’
• The Jesus and Mary Chain announce North American tour in support of ‘Damage and Joy’
• Listen: The Jesus and Mary Chain debut ‘Always Sad’ — 2nd ‘Damage and Joy’ single
• Jim Reid vows The Jesus and Mary Chain will complete its first new album in 17 years

One Comment

I loved the Psychocandy tour. I sure hope this makes its way to North America!

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Darklands Rescheduled UK Tour Dates Announced

As many of you anticipated we have again had to reschedule our Darklands tour.  

We are also pleased to announce extra nights at Glasgow Barrowland and Manchester Albert Hall. Tickets for these 2 extra dates go on sale at 10 am Friday 22nd January 2021.  

The rescheduled/new dates are as follows:

Saturday 13th Novembe r - Stereo, Glasgow - SOLD OUT (rescheduled from 09/02/2021)

Sunday 14th November - Barrowland, Glasgow - SOLD OUT (rescheduled from 10/02/2021)

Monday 15th November - Barrowland, Glasgow - EXTRA DATE

Wednesday 17th November - Albert Hall, Manchester - EXTRA DATE

Thursday 18th November - Albert Hall, Manchester - SOLD OUT (rescheduled from 11/02/2021)

Friday 19th November - Roundhouse, London - SOLD OUT (rescheduled from 12/02/2021)

New dates and ticket links are found on our website:  https://themarychain.com/shows

All original tickets remain valid.

The rescheduled EU show dates will be announced soon.

We look forward to seeing you in November.

Thanks for being patient with us.

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The Jesus And Mary Chain – “40 Years” Australian Tour 2024

8 August 2024 Thursday

8 August 2024

Doors open: 7:00pm

Show time: 7:30pm - TBC

Astor Theatre

One of the most influential bands of their generation and beyond, The Jesus and Mary Chain mark their 40th anniversary in 2024 with a return tour to Australia in August!

From the moment the Reid brothers (Jim and William) first pressed the record button on their Portastudio in the early 1980’s, the intense, sometimes brutal, often darkly romantic music they made has always felt like past, present and future smashed together, alchemising into something startling.

Consistently defying musical boundaries, blending intense melodies with raw emotion to create a mesmerising sonic experience, JAMC anthems such as Just Like Honey, April Skies and Happy When It Rains are timeless statements of artistic excellence. Shaping the post-punk landscape with a legacy that continues to inspire awe and reverence.

From their origins on the outskirts of Glasgow, The Jesus and Mary Chain have gone on to influence many of music’s greatest minds, and are consistently referenced as a chief source of inspiration for the likes of My Bloody Valentine and Nirvana. 1985’s Psychocandy is widely considered to be one of the most influential post punk records ever released.

With new album, Glasgow Eyes in hand, the duo continue to seamlessly fuse electronica and rock with as much innovation as they’ve always had. Embracing their punk roots, while maintaining their anarchic spirit.

As outsiders who shaped the very fabric of British music history, The Jesus and Mary Chain stand apart yet are one of the most influential acts of the modern era.

Jim Reid states that, “We’ve never fit in anywhere, and that’s just fine with us. We are the party, and that’s all that matters.”

Don’t miss your chance to experience The Jesus and Mary Chain as they roll though your town!

ASTOR THEATRE – CONCERT MODE: Stalls – General Admission Standing & Limited Unreserved Seating Balcony – Reserved Seating Licensed All Ages – Patrons under 18 can only attend with parent/guardian (over 18) with a valid ticket. Infants not admitted.

TICKETS: General Admission: $89.90 Premium Reserved Seating: $119.90 (Plus Transaction Fee)

PLEASE NOTE : Balcony seating is only accessible via the stairs. No disabled access. Entry is entirely at the discretion of the Licensee. Bag checks are required prior to entry. No external food or drinks are permitted in the venue. Cameras are strictly prohibited.

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Thursday 01 August 2024

The Jesus and Mary Chain

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118-132 Enmore Road 2042 Newtown, NSW, Australia www.enmoretheatre.com.au/

Additional details

Doors open: 20:00

Concert in your area for Rock , Indie & Alt , Hip-Hop , and Pop .

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Last time in Sydney: 5 years ago

Biographies

The Jesus and Mary Chain (formed in 1983) are an alternative rock band, from East Kilbride in Scotland. The band is mostly orientated around the brothers Jim and William Reid.

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The Jesus And Mary Chain Announce 2024 Australian Tour To Celebrate 40th Anniversary

By Aastik Bairagi

The Jesus And Mary Chain has announced their Australian Tour for the year 2024 which they are taking to celebrate their completion of 40 years together as a band. The tour is supporting their newly released album titled  ‘Glasgow Eyes’. The tour is going to be of five days and this album is going to be their 8th.

The 5-day tour will kick off at Sydney (Eora) on Thursday, 1st August. They are going to perform at the Enmore Theatre on Thursday. After four days of full performing, they are going to wrap the tour on the 5th day, by performing at the Astor Theatre in Perth (Boorloo) on Thursday, 8th August. 

The Jesus And Mary Chain – ‘Just Like Honey’

The tickets for the tour would go on sale at around noon AEST on Wednesday, 8th May. There is also going to be a pre-sale which is going to go live on Friday, 3rd May and the timing would remain the same. 

This tour of 2024, is happening after a long gap of five years. The last time ‘The Jesus And Mary Chain’ performed in Australia was in the year of 2019 in the month, of March.  They took the tour to support their 2017 released album titled ‘Damage And Joy’.

The Jesus And Mary Chain Australian Tour, 2024

• Monday, 1st August – Eora/Sydney, Enmore Theatre
• Wednesday, 3rd August – Meanjin/Brisbane, The Tivoli
• Thursday, 4th August – Naarm/Melbourne, The Forum
• Saturday, 6th August – Kaurna/Adelaide, Hindley Street Music Hall
• Monday, 8th August – Boorloo/Perth, Astor Theatre

You can grab the tickets from here.

Further Reading

Sia Releases New Single ‘Incredible’

TX2 Releases New Single ‘HATCHET’

Jim Jefferies Announces 2024 Australian Tour

Aastik Bairagi is a Music Journalist at Music Feeds, where he covers pop music news and the Australian music industry. Before joining Music Feeds, Aastik was a Music & Hip-hop writer at Sportkeeda's SK Pop with work published in other notable publications including Asiana Times. He has also worked as an Assistant Manager for Indie artists and helped them with their PR & marketing strategies.

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