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November 17, 2021 Setlist

The Brian Jonestown Massacre Setlist at 8mm Bar, Berlin, Germany

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Charmkins Attack Play Video
The Real Play Video
You Think I'm Joking? Play Video
#1 Lucky Kitty Play Video
Wait a Minute (2:30 to Be Exact) Play Video
Don't Let Me Get in Your Way Play Video
Do Rainbows Have Ends? Play Video
The Mother of All Fuckers Play Video
The Future Is Your Past Play Video
Your Mind Is My Cafe Play Video
Where Do We Go From Here? Play Video
Abandon Ship Play Video

Edits and Comments

6 activities (last edit by FrankyDooDy , 23 Sep 2023, 15:30 Etc/UTC )

Songs on Albums

#1 Lucky Kitty
Don't Let Me Get in Your Way
Wait a Minute (2:30 to Be Exact)
You Think I'm Joking?
Do Rainbows Have Ends?
The Mother of All Fuckers
Your Mind Is My Cafe
Charmkins Attack
Where Do We Go From Here?
Abandon Ship
The Future Is Your Past

Complete Album stats

The Brian Jonestown Massacre

The Brian Jonestown Massacre Gig Timeline

Oct 23 2018 O2 Forum Kentish Town London, England Add time Add time
Oct 24 2018 Concorde 2 Brighton, England Add time Add time
Nov 17 2021 8mm Bar This Setlist Berlin, Germany Add time Add time
Nov 19 2021 Synästhesie Festival 2021 Berlin, Germany Add time Add time
Mar 27 2022 Union Transfer Philadelphia, PA, USA Add time Add time

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Live reviews

We were lucky to see The Brian Jonestown Massacre live on stage in Hamburg‘s Knust club. The show was great! So powerful and energetic, Anton singing and playing in a great shape (though spending some time with the retuning of the instruments ;-) ). Supported by Moogy who also sang „Anemone“, one of my favourite songs. The BJM played new songs from the new „Something Else“ album that sounds so very nicely „retro“ and many great songs from the earlier days (among others „Who“, „When jokers attack“). It was loud and very, very hot (due to an abnormal summer in Northern Germany). Joel cheered the audience with his tambourine and Anton even turned his fan to us, helping us with a cool breeze. Although The BJM played quite long, we were sorry to watch them leave (no farewell) and not return again for an encore. We waited as long as possible, but, maybe due to the exhausting temperatures in the club, remained unheard. Anyway, it was a wonderful gig and the size of the club allowed us fans to get in touch with the band. The light show was, as usual, very nice, too. I definitely recommend to go and see The BJM live, it‘s so worth it. The records are already awesome but live they are just brilliant and even better. By the way, „LeVent“ (A Records!) supported the show and they were really great, too, so it was a georgous evening.

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We were lucky to see The Brian Jonestown Massacre live on stage in Hamburg‘s Knust club. The show was great! So powerful and energetic, Anton singing and playing in a great shape (though spending some time with the retuning of the instruments ;-) ). Supported by Moogy who also sang „Anemone“, one of my favourite songs. The BJM played new songs from the new „Something Else“ album that sounds so very nicely „retro“ and many great songs from the earlier days (among others „Who“, „When jokers attack“). It was loud and very, very hot (due to an abnormal summer in Northern Germany). Joel cheered the audience with his tambourine and Anton even turned his fan to us, helping us with a cool breeze. Although The BJM played quite long, we were sorry to watch them leave (no farewell) and not return again for an encore. We waited as long as possible, but, maybe due to the exhausing temperatures in the club, remained unheard. Anyway, it was a wonderful gig and the size of the club allowed us fans to get in touch with the band. The light show was, as usual, very nice, too. I definitely recommend to go and see The BJM live, it‘s so worth it. The records are already awesome but live they are just brilliant and even better. By the way, „LeVent“ (A Records!) supported the show and they were really great, too, so it was a georgous evening.

I had heard that Anton had turned a new leaf with age, so I tried my luck. I'm not a fan of the meltdowns or the whining as some are. Alas, it was like visiting my racist grandparents whom seem to exist out of time. It's just a part of him, I guess.

He was one guitarist short (I'm not surprised), which he mentioned no less than 5 times to excuse the poor performance.

He berated his keyboardist.

He berated his lead guitarist.

He physically / forcefully adjusted his rhythm guitarists head position relative to the microphone they were sharing.

He did show a glimmer of levelheadedness here and there, but it was heavily outweighed. I don't know if the show was good. I know that it was OK until he kept pointing out everyone's flaws. I was too annoyed and distracted by the abuse. And in case anyone is wondering, he did fake a British accent live.

I was prepared for a 3 to 11 hour show, I think it was a little over two hours. Not blaming them, just putting that out there. Also, it's possible that the guitarist was legit not there for unrelated reasons and tensions were high due to having to come up with a new set list and rehearse on short notice. Also, no encore. I don't know.

Compared to the Dandys show last year, forget about it. No comparison. Dandys Rule OK.

The Brian Jonestown Massacre started their group in San Francisco in the late 80's. They had a heavy feel of psychedelic rock and other tones such as blues and raga.

When they come out on stage you could see they way about them and their music was pure to who they were and to the era they were playing in. They combined a variety of different instruments into their sets with such things as Indian drones, sitars, mellotrons, farfisas, didgeridoos and tablas. The lead singer comes out in a denim jacket and the rest of the group as a hippie and indie look to them. The stage is black until their lighting kicks in and then the whole feel and attitude changes.

Playing live they have a variety of things going on around them to entertain and amaze the audience. Bright colors flash and change giving a retro vibe to each song they play. When they play the move around a lot and have a vibe that can remind one of the Ramones and various others. The audience is filled with adoring fans and their numbers range in the hundreds. All of them moving and grooving with their set and really digging the sound. For when they played it was really something to have been seen, especially live.

Haydn Kramer

The Brian Jonestown Massacre last night. Swirling, Jangling, sumptuous guitar’s: raging with keyboards and rhythm lines roaring beneath, some say psychedelic, “shoe gaze”, folk-rock, or garage, but by any descriptive, adjective; a dreamy transcendent rock band with a bent toward perfection, (three songs good-naturedly stopped for broken strings). Since 1990 and always closely associated with The Dandy Warhols, (another killer band not enough people know about), liquid symmetry between the band Anton Newcombe formed in San Francisco, ethereal sounds and lyrics ended, without encore—-because, you knew they had completed something special when you floated out to the street.

BJM were awesome last night in their Brooklyn debut at the new Brooklyn Steel venue. Anton Joel Ricki and crew did not disappoint and treated the large adoring crowd to an evening of impromptu jam, trance, and psychedelia. They sprinkled their show with a catalogue of well known past songs as well as some more contemporary issued songscapes, with the crowd at times rocking and bopping. One disappointment show was cut short by curfew ending at 11PM and only two hours in length. However, Anton managed to cram in as many songs as he could in this alotted time. Can't wait to see them again!!!! Fred

PS: SongKick kicks song!!! Easy to use and no hassles. I love my songkick.

Ah, honestly one of my favourite bands, wish that I could say I enjoyed the show but it wasn't all that. They have such a huge discography there's basically no guarantee you'll hear any of the songs you like (I only knew a couple), and none of their music sounds anywhere near as good live. That coupled with bad bouncers and a couple of crazy fans lead to what was easily one of the worst gigs I've been to. Felt like I wanted to leave after a few songs. Still, glad I can say I've seen them, and I'll still proudly wear my BJM T-shirt, but I can't say it was worth the price of the ticket: maybe if you're out of it.

Not sure if the rolls of electric waves came from being in such close proximity to the stage or cacophony of sound, but BJM is still in my head and blood - thank god. If the spark can stay around a few more weeks I will be satisfied with this round but it will be far too long before I get to experience their melodies again in such capacity. Long live the beauty, majesty and evil that comes with The Brian Jonestown Massacre!

well, 4th show in the past year i have bought tickets for, but have had to miss due to personal matters, eating the ticket on...so, i couldn't tell ya. this one and luna def hurt the most, on that figurative "hit to the gut" level. :( as for the cost, i have given more to less worthy causes, so...hope it was as great asi imagine it would be. i do wish we transfer the tickets though. i could have made someone's night.

It was awesome!

We had the chance to sit and talk with Anton before the show about where he's been living and what he had planned for the future.

Very chill and intimate setting...

Then they played a Great set!

Overall, Great venue!

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2018 Primetime Emmy & James Beard Award Winner

How Anton Newcombe sees it, from The Brian Jonestown Massacre to Berlin

Oct 20 2020.

The founder of San Francisco’s notorious band The Brian Jonestown Massacre on sneaking into punk-rock clubs at age 11, finding a sound, and finding his way to Berlin.

Ah, Berlin. One of the most visceral pleasures I’ve had over the years has been crawling every quadrant of this great, open city, with friends, boozed-up surveyors charting mental mischief maps. Berlin is a city which even now, three decades after the wall fell, seems to delight in its openness. And we have taken advantage of that over the years—on bike, on foot, taxi, kayak in the western lakes, S-Bahn to the northern forests, U-Bahn through the dark middle. The city that used to be trussed up like a turkey is unbound and beckoning for any number of deep drinking nights. And that’s what it was on my final evening in this city this time, with this episode’s guest, musician Anton Newcombe, frontman of The Brian Jonestown Massacre, who lives now in Berlin, which keeps perfect pace with his open, productive mind.

After recording this episode in January, but still early on in the pandemic, Anton came down with COVID-19. As he texted me yesterday, he recommends avoiding it if you can. But since his recovery, he has been a beast in the studio, eating well and waking early and putting out prolific works in progress. You’ll hear in this conversation the kind of mind that just instinctually makes buckets of lemonade in a very lemon-filled year.

There are things that I miss [about the US], but they don’t exist.

Nathan Thornburgh: Cheers, man. Thanks for being here.

Anton Newcombe: How much do they pay you to drink this shit?

Thornburgh: [laughs] T his episode brought to you by Faxe.

Newcombe: Wow. Reminds me of… American beer.

Thornburgh: Yeah. I could see you were searching for a devastating insult. And you found it.

Newcombe: Well, not insulting, but it just reminds me of a malt liquor almost. It reminds me of Colt 45, it has the same exact taste.

Thornburgh: You’re from California, but not from San Francisco originally?

Newcombe: No, I’m not. I’m from Newport Beach, California.

Thornburgh: You have come a long way, baby.

Newcombe: Yeah, exactly. This little lemon fell far away from the tree, but that’s okay. There are things that I miss, but they don’t exist. So what can you say?

Thornburgh: We were talking about the ghosts of San Francisco, how the town just seems to be somewhere else and you can only remember what used to be.

Newcombe: I really feel it. I know very few people that still live there. Joel from my band and some people come out of the woodwork, and there was an Exodus for a while to the East Bay, and I know people there too.

Thornburgh: Well, the economy chased them over there too.

Newcombe: Yeah. Everywhere. Right. Everywhere I move becomes this amazingly popular place including here. It’s crazy.

Thornburgh: You mean this whole time it was you.

Newcombe: Yeah. It doesn’t matter where I go. It’s crazy. Portland, Oregon, you name it.

Thornburgh: I’m putting your ass in Bucharest and see if you can…

Newcombe: It’s like I’ve picked all these dodgy places to live, whether it’s Echo Park in Los Angeles or something and all of a sudden, next thing you know there’s a yoga studio.

Thornburgh: This is the truth man. And then the times I’ve congratulated myself on having found a place that I feel is a nice balance of interest and costs… All of a sudden I look around and realize I’m not the only asshole with that idea.

When I moved to Prenzlauerberg there were no ATMs. They didn’t accept any cards of any kind anywhere on the East Side of Berlin.

Newcombe: When I moved to Prenzlauerberg there were no ATMs. They didn’t accept any cards of any kind anywhere on the East Side [of Berlin] and little things like that. And then you fast-forward to a couple of years ago and there were Patagonia pop-up stores and Tesla pop-up stores. This is ridiculous. They have this thing, sneakers and things. It’s like a Swedish firm. And it used to be this club that had a basement cave grotto thing and then the top floor, and it was called White Trash a Go Go, and it was a crap American-style restaurant. Chinese interior. It was just mad, right? But one day the landlord just said, “Okay, the rent is 27,000 Euro a month.” And the guy was like, “What are you talking about?” “Okay, get out.” And I was like, “Who’s going to pay 27,000?” All of a sudden it’s like Nike Exclusives. And then I’m thinking, “How the hell are they going to clear that off sneakers and then make a profit?” And then I started to see 120 people lined up as they launch each Weezy, Jeezy, whatever it is. I realized that it was all subsidized by the actual clothing companies.

It’s the same thing with nightclubs. It’s everything. They’re not making money off a two-euro Ladies’ Night. It’s an Absolute Vodka event or whatever.

Thornburgh: That’s the thing. Like you said, they’re showrooms, they’re loss-leaders, and then how are you going to fight against that?

Newcombe: Well they can’t lose, and it’s the same thing in the record industry that when you hear about things that bucked the trend, this has been quite a while, but it’s like The White Stripes Seven Nation Army selling a million copies on vinyl, it’s just ridiculous. But when you have the right distribution behind you they can contact every store and say, keep one hundred copies because if you don’t sell them, you can have them.

Live music was only in bars, and you had to be 21 to drink. So that was the end of live music and that was the end of the youth culture.

Thornburgh: So you started out going to clubs in Newport Beach?

Newcombe: Well, let me tell you the story. There used to be a place called the Cuckoo’s Nest in Placentia , down the street from my mom’s place and it was original punk rock, New Wave whatever happens kind of place, as crazy as Los Angeles or New York or anything. Of course CBGBs was a little bit before that obviously, you had Max’s Kansas City, and all that stuff was petering out, through the Velvet Underground with no Lou Reed, until the Dolls and the Ramones and everything else.

But in the later 70s it was there for international acts. So I could just walk there in the middle of the night with my friends when I was 11 or whatever, and we figured out this trick that was pretty amazing, because you can’t go see bands generally in California since the Sunset Strip riots happened, in 1966.

Thornburgh: They closed it to kids?

Newcombe: W hat happened was, there used to be coffee houses that had Go Go bands. The venues were actually coffee houses as much as the Whiskey a Go Go, and there were age limits. And eventually there was a plan from the city council, because so many people were hanging out, that they were going to make a 10 p.m. curfew. And at that point there were riots. All the kids started protesting right on Sunset Strip. California changed the laws. So you had to be 21. Live music was only in a bar, and you had to be 21 to drink. So that was the end of live music and that was the end of the youth culture.

Thornburgh: That’s so crazy.

Newcombe: Besides school dance, county fair. Seriously.

Thornburgh: How do I not know about it? Because that very directly affected my teen years.

Newcombe: But all of Southern California was like that, you know? Surf bands, The Safaris, everybody. All these different cities had their own coffee houses and clubs.

Thornburgh: How’d you get around it as an 11-year-old?

Newcombe: I learned a trick. The punk rockers would stage dive, right? And so the bouncers would grab these guys and they would kick open the back door with a dude in the headlock to throw him out. So we would stand on either side of the door, against the wall. And inevitably, first song or the fast stuff comes on, the door kicks open. Some guy gets thrown out with the bouncer pushing him, and we’d just run in, and if you could get up the stage to jump off into the audience, or around into where everybody was and you were inside, we could just do that endlessly.

Thornburgh: You’re like a fucking woodland creature, looking for your any gaps.

Newcombe: So quick, you know what I mean? Like water gushing into the Titanic or something.

Thornburgh: And then once you’re in the middle, who’s going to catch you out?

Newcombe: There’s no way they’re going to catch you.

Punk rock opened the door for a lot of other stuff.

Thornburgh: I t sounds like the punk rock clubs [were] your cultural escape.

Newcombe: That was the music thing, because a lot of things aren’t really punk rock. Punk rock opened the door for a lot of stuff. I saw Magazine play, and PiL, and all these things very early. They’re not really punk rock, but they wouldn’t have happened without it. Johnny Rotten’s a perfect example. When you’re young, and you try to become Johnny Rotten, you become yourself. But if you try and be like Sid Vicious, you become like this glue-sniffing derelict. There’s like two totally different weird things about it. You can’t be like Johnny Rotten, because he’s just him.

It’s the product of giving yourself permission to be yourself. And some people are beautiful that way. They excel. Like what they have to offer is amazing because you can kid yourself and say, I’m just being myself by pretending I’m into The Jesus and Mary Chain, like 30 years later, wearing black sunglasses and a leather jacket, whatever it is you’re doing. But some people, a fair amount of people, whatever they’re doing, when they have no idea and they’re trying to come up with something, the first thing they reach for isn’t something else that they know. They reach into the fire of the unknown. You just use things. You got to understand a big part of everything else is copying other things. Like everything, it doesn’t matter what you see, people are feeding off of other things.

Thornburgh: I think I understand what you’re saying. It’s like you are making conscious decisions to use whatever those influences are to find out who you actually are.

Newcombe: Well, most people hang very heavily on other things and they’re good at it. Most of the masters are very good at synthesizing combinations of other things that are beautiful.

Thornburgh: Where do you fall on that? Are you good at it?

Newcombe: Well, I’m interested in different things. I’m less interested in blues music, so it doesn’t pigeonhole me that way. And I’m just interested in a blender of things, but it’s all sort of presented in this playable way of just the same equipment that The Beach Boys were using or something in the early 60s. So it doesn’t matter what I’m playing, it has nothing to do with them. It’s just possibilities, in the way that The Beach Boys were doing this Chuck Berry [sound], right? It’s squeaky clean, right? These 50s harmonies. And then all of a sudden, wow, they’re doing Pet Sounds and doing this mind-expanding thing, whatever the hell it is. I’m interested in those possibilities more. I would love to be able to rip that off, but I can’t, I don’t got it in me.

There’s the weight of the whole wannabe, when that’s true. Like you want to be something so much. Like this is what you want to do. But my thing started out because when the parents would be in LA, that’s an excuse for a party. So you were either talking somebody into having a party and then blowing out as crazy as it could possibly be. So we used to have this technique that I figured out, which was you get three pretty girls and you sit them down on little parking curb right next to the front of the liquor store and you wait for the construction guy to come pull up after work to get his beer. And you say, “Excuse me Mr, I’m trying to get laid, will you help me get some beer?”

Thornburgh: Who among us could deny that young man?

Newcombe: And it would work, it would work. I would get kegs, I would get whatever, all the time. So because people just, they really got a kick out of it.

I never thought I could play music from watching a clip of The Beatles or anybody else on TV.

Newcombe: Then the next thing would be like, “Oh, let’s have a band.” And it was all about making up bands, and you would just do that for parties. But it was next to impossible to get gigs for a long time.

Thornburgh: But that’s where you leave many people behind. It’s just seeing that party as a canvas, not just for getting laid, but for entertainment, for having some sounds and music, ideas popping in your head.

Newcombe: We were totally outlaws. All of our friends, our friends’ brothers, everybody was an outlaw. But that also made us the coolest people at the same time. So in the weirdest way there was a healthy subculture in Southern California.

Thornburgh: Right.

Newcombe: And it was crazy. You would see bands. And there would be a party and the band would be in the garage, a party is in the living room, and in the backyard, in community centers and it was just nonstop crazy. And that stuff is inspirational. I tell people this all the time. I never thought I could play music from watching a clip of The Beatles or anybody else on TV, watching Hee-Haw with my great-grandma or The Lawrence Welk show. None of that shit ever showed me that I could play music, or do that, in the way that if you grew up, with somebody like your grandma and all your cousins playing and had a history of it. You want to sing? Go ahead and sing along. You want to strum on the guitar? Please do. It’s a different situation. But once you see all these idiots, you’re like, I can do this.

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Formed – 1990 in San Francisco, CA

Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock & roll, the Brian Jonestown Massacre formed in San Francisco, CA, in 1990. Some 40 different members passed through the group’s ranks over the next half-decade, but their focal point always remained singer/guitarist Anton Newcombe, along with other musicians recorded the Massacre’s 1995 shoegazer-influenced debut LP, Methodrone. A collection of early recordings, Spacegirl and Other Favorites, followed on the band’s own Tangible label in early 1996, and was the first of four Brian Jonestown Massacre LPs to appear that year. Next up was the brilliant, Their Satanic Majesties’ Second Request, a full-blown homage to the Stones’ glorious psychedelic-era excesses. Recorded live in the studio, the grittier Take It from the Man! found the band exploring even broader territory. Finally, the year ended with the release of Thank God for Mental Illness, a showcase for strong country and blues leanings.

In 1997, the BJM resurfaced with a new full length album Give It Back! After signing to TVT, they released Strung Out in Heaven the following year, but the band’s own eccentricities kept them from staying on the label. After a few scattered EPs, they resurfaced in 2001 with Bravery Repetition and Noise, distributed by Bomp. And This Is Our Music followed in 2003. Despite a continued lack of major distribution, the Brian Jonestown Massacre earned the largest profile of their career in 2004, when the band became the unlikely focus of an award-winning documentary, DIG!, which charted the trials of Newcombe and those of his rival, Courtney Taylor, leader of the Dandy Warhols. The We Are the Radio EP followed in August 2005.

Three years later, Anton Newcombe reinvented the band as he had obtained all the releases of his past albums & formed his own label ‘a recordings’ .

His first new album on this label was My Bloody Underground, featuring yet another lineup and a hint of shoegaze and noise pop. Who Killed Sgt Pepper? followed shortly after, being made available in streaming format at the end of 2009 and receiving an official release on February 27th, 2010.

The band have toured throughout the years to Australasia , Japan , North America & Europe , in 2010 they finished a 16 week world tour which ended in June.

In late 2010, Newcombe found premises in Berlin & proceeded to work on building his studio . The band released worldwide a 2CD compilation of their single releases in August 2011,

In 2012 , the band released their 13th full length album “Aufheben” with tours in Australia , the USA & Europe .

Touring Australia in 2013 included BJM headlining the prestigious Meredith Music Festival in Victoria, with sold out shows at The Hi Fi in Sydney and The Palace in Melbourne as high lights of the tour .

In 2014 , The Brian Jonestown Massacre release ‘Revelation’ was released on the 19th May and were supported by dates in Austin TX headlining The Austin Psych Fest and additional dates on the west coast .

An extensive tour of mainland Europe to include the bands first ever dates in Warsaw, Prague and Athens is also to support their 14th full length album ‘Revelation’ . This album has original and long time member Ricky Maymi along with other musicians recording with Anton on this new album.

In 2015 the band celebrated their 25th anniversary , they released an album in April called “Musique de film imagine” which was an imaginary film soundtrack album featuring the track ‘Bonbon’ which has, ironically, been used in ‘Dheepan’; the Palme D’or winner at Cannes film festival 2015 . They also released a 7 track mini album in November called “Mini Album Thingy Wingy” the they toured Australia & New Zealand .

In 2016 , the band played Berlin & Cosmosis Festival (Manchester UK) in March , then embarked on a US & Canadian tour that started on 29th April & ended on 2nd June taking in 28 dates . They released the single “Bout des doigts” in June 2016 & then another single in September called “The Sun Ship” . Through out June & July the band toured Greece , the UK , Ireland , France & the Netherlands doing 21 dates . In August the band were back in Europe doing 13 dates in France , Switzerland , Italy , Hungary , Germany , Spain & Portugal.

They then released their seminal album “Third World Pyramid” in October 2016 . They then played in Joshua Tree National Park in California then Chile & Argentina in November 2016 .

In 2017 they released 3 singles in January& February 2017 (“Groove Is In The Heart”

, “Open Minds Now Close” & “Dropping Bombs On The Sun (UFO Paycheck)” ) followed by the album “Don’t Get Lost” also released in February . The band also played LA , Houston , Dallas , Austin & Mexico in March 2017 . The band toured again in August starting in Las Vegas , then doing 5 East Coast tour dates in September .

In 2018 , the band released a “Hold That Thought” single in May & an album “Something Else” in June . also they undertook a hugely successful global tour (starting in the USA in April & finishing in the UK in October) – taking in USA, Canada, Australia, New Zealand and Europe . They also released the single “Forgotten Graves” on 30th November .

In 2019 they plan to release the new self titled LP , which was released on 15th March 2019 to critical acclaim .

Between 2020 & 2021 , Anton & some of the band returned to the studio in Berlin , being joined by other members remotely to record over 50 songs .

Also Anton with Dot Allison(Massive Attack) wrote & recorded music for a six part TV detective series called”Annika”

In March 2022 they toured the US & Canada with special guests Mercury Rev on 6 week well received tour , a new album was released in June called “Fire Doesn’t Grow On Trees” the band also did a 5 week tour of mainland Europe to many sold out shows

In 2023 the band released another new album that came out in February called “The Future Is Your Past” which garnered many good reviews , They also embarked on a 2 month European tour taking in the UK & Iceland playing to sold out shows 28 sold out shows out of 30 shows . A the moment in the summer of 2023 , they are playing festivals in France , Italy , Finland , Portugal & the UK . They will be touring North America starting mid September 2023

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