Now with 2 full length albums under their belt; 2017’s acclaimed ‘Tempest’ and their 2014 debut album ‘12 Areas’, Telepathy has been embraced with open arms by even the most unyielding fans of post metal, black metal, hardcore, doom and sludge alike; a testament to their inspired, nuanced and emotionally punishing take on metal. With such an array of styles and emotions forming a unique and cohesive whole, Telepathy displays an uncanny ability to unite fans of all types of heavy music and draw them into their mysterious and alluring world.
This summer they are set to head out on a series of tour dates across Europe with Dopelord, Rosetta and The Ocean alongside festival appearances at Desert Fest, ArcTanGent and Dunk Festival. Guitarist Richard Powley comments:
‘Playing live is the driving force of this band and touring is what we live for. Since the release of ‘Tempest’ things have been getting bigger and bigger for this band and we’re honoured to be heading out on the road once again this spring!
We are of course thrilled to be playing select shows in the UK, Desertfest London as well as headlining the second stage of the amazing Dunk! Festival and supporting the Ocean Collective and Rosetta on a couple of dates before heading across Germany to Poland playing full headlining shows’
The spring of 2017 marked the release of Telepathy’s second sonic offering, ‘Tempest’. The 52 minute concept album; recorded at Orgone Studios with producer/engineer Jaime Gomez Arellano, enjoyed notably positive reviews across print media outlets, blogs and webzines from all corners of the globe and demonstrated a departure from their frenzied debut, ’12 Areas’.
The album depicted the harrowing journey of a person beset with grief and faced with total isolation after awaking from a great flood. ‘Tempest’ guides the listener on a journey through awakening, desolation and finally acceptance.
In support of ‘Tempest’, the band took to the road to stun audiences across the continent during 3 extensive tours of the UK and Europe. From performances in the clubs of the UK, France, Germany, the Netherlands, Belgium, Switzerland and Romania, to appearances at the legendary Roadburn Festival in the Netherlands, Berlin Swamp Fest and Into the Void Festival, the band’s furious live show has made Telepathy one of the most talked about bands in the heavy metal underground and has gained them a substantial and devoted fan base along the way, owing greatly to their unwavering commitment to touring and recording.
Kino are set to release their new album ‘Radio Voltaire’ on March 23rd, 2018, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. It sees John Mitchell (It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.
Yesterday saw the release of the third and final track to be taken from the album prior to release, titled ‘I Don’t Know Why’:
Pete Trewavas comments: “This is a kind of Jellyfish/Queen inspired song which I wrote just towards the end of the first Kino album sessions. It was just too late to be on the record but I remember playing it to John Mitchell while we were at his finishing off the ‘Picture’ album. At the time I expected it to be on the second album, which never happened until all these years later.”
The album will be available on Limited CD Digipak (including bonus tracks), Gatefold 180g Double Vinyl (incl. CD) & Digital Download. Digital pre-orders on iTunes and Amazon receive ‘The Dead Club’ immediately. Pre-order now here: www.insideoutmusicshop.com
ecorded at the end of 2017, writing began at the end of that Summer. “We actually began the writing process in late August” says John Mitchell. “Pete had a few tunes and so did I, and we went from there.” Mitchell and Trewavas were both a crucial part of the original band more than a decade ago, with the former providing lead vocals and guitar parts, while the latter played his trademark bass lines and also contributed backing vocals.
Keyboard player John Beck, who is also a bandmate of Mitchell’s in It Bites, has been brought back. But while he was fully involved on the debut album, this time his role is that of a guest musician. “Yes, I am delighted to say we’ve gone John on board. His keyboard playing is splattered throughout the album, and I’ve also done the odd keyboard part myself.” The task of drummer this time fell to Craig Blundell, as Mitchell explains: “This time around Craig was the obvious choice to be the drummer, as far as I was concerned. I have worked with him so much that there was nobody else in the frame.”
Of the albums direction, Mitchell illustrates: “The title sounds very cool and obviously there’s a connection with the band Cabaret Voltaire. But Voltaire himself (the 18th century French philosopher) had a fascination with death, which appealed to me. He also stood for freedom of speech and freedom of religion. On top of that, I love the idea of a radio station that would reflect his views on life and cut through the bullshit which seems to be all over politics. Now, that is the type of radio station I think would reflect what a lot of us want to hear.”
The album cover has been designed by Paul Tippett, who is one of the most in demand artists of the modern era. “I like what he’s done with this sleeve. It reminds me of Moulin Rouge meets ‘Live And Let Die’. It is very striking, and I am sure everyone will have their own interpretation of what it reminds them of.”
The tracklisting can be found below:
1.Radio Voltaire
2.The Dead Club
3.Idlewild
4.I Don’t Know Why
5.I Won’t Break So Easily Any More
6.Temple Tudor
7.Out of Time
8.Warmth of the Sun
9.Grey Shapes on Concrete Fields
10.Keep The Faith
11.The Silent Fighter Pilot
Bonus Tracks
12.Temple Tudor (Piano Mix)
13.The Dead Club (Berlin Headquarter Mix)
14.Keep The Faith (Orchestral Mix)
15.The Kino Funfair
#YES50 TOUR commences Tuesday 13 March – Latest Tour News
Bristol and Manchester have now sold out. Other venues have extra tickets released.
Trevor Horn confirmed as special guest at London [both shows] and Paris.
Fans considering Paris are advised to check the Olympia Box Office as this show has had a few more seats released which will sell out rapidly.
Founder member Tony Kaye is unable to appear on this side of the Atlantic but is slated to join the band in the USA in June and July.
Yes fans know how lucky they are that Yes music is still available to watch live, in these uncertain times. Don’t miss out on these shows.
This is the last chance for fans to see YES perform sides 1 & 4 (and an excerpt from Side 3) of iconic 1973 album Tales from Topographic Oceans – the first YES album to top the UK charts. Yes will, of course, be performing classic hits as well! It will also be the last chance for fans to experience Roger Dean’s spectacular Tales From Topographic Oceans video artwork, as it is set to be retired after the current run of dates.
The Officially endorsed not-for-profit Yes Fans Convention has some tickets available at £30 a head. It takes place over the weekend of March 24th & 25th at the London Palladium; the venue for the UK tour’s final two shows.
The convention includes 2 Yes tribute bands, Yes authors, displays, merchants, alumni, Roger Dean and Yes fans from around the globe.
It will also host the launch party for the remixed version of YES’ 2011 album Fly From Here – Return Trip featuring newly recorded vocals by the album’s legendary producer Trevor Horn, as well as a bonus new track. It is the much-anticipated return of the ‘Drama’ line-up.
This new version of Fly From Here – Return Trip is being released independently by the band via the Pledge Music platform (pre orders available at: https://yesthedramalineup.pmstores.co), alongside being available for sale at the convention.
YES50 MARCH 2018 TOUR (UK & Europe) TOUR DATES
Tues 13th Bristol Colston Hall SOLD OUT
Weds 14th Sheffield City Hall
Fri 16th Glasgow SEC Armadillo LAST FEW TICKETS
Sat 17th Manchester Bridgewater Hall SOLD OUT
Sun 18th Gateshead Sage
Tues 20th Birmingham Symphony Hall LAST FEW TICKETS
Weds 21st Brighton Centre
Fri 23rd Liverpool Philharmonic Hall
Sat 24th London Palladium LAST FEW TICKETS
Sun 25th London Palladium (Gig and fan convention)
Tue 27th Tilburg 013
Wed 28th Antwerp De Roma
Fri 30th Paris Olympia LAST FEW TICKETS
Tickets available from BookingsDirect.com. 24hr Ticket Hotline 0844 249 2222 (subject to fee). Also available from venue box offices and select authorised ticket agencies.
Front row, Meet & Greet & VIP packages are available from YESWORLD.com
“…if I’m lost, I’m on my phone, you can always find me, Tesco’s have a read on how much lager I will need to unwind me..”
The lyrical genius of Sleeperman once again brings a smile to this tired old hack’s face. Sharp, canny and incisive lyrics are becoming a real U.S.P of this clever band which, along with music that always hits the spot, are making them a highlight of this musical year for me. The third single release of 2018 is Loyalty and the guys once again tweek a winning formula by giving a little bit of eastern promise to their sound.
To quote the band, “NEIL’S SITAR INFLUENCED GUITAR MOTIF IS AN (ARRANGED) MARRIAGE WITH JOHN’S LYRICAL TRIBUTE TO THE BARD IN A TALE OF SUPERMARKETS AND PERSONAL IDENTITY. “
That Indian influenced guitar motif is incredibly catchy becoming an earworm and one that gives additional polish to what is already a very impressive song. I’m probably not the only one who actually rewinds the song so that they can listen to the witty and pithy lyrics which, combined with the excellent bass of Steve and Phil’s elegant drumming, advance the coda of Sleeperman further on up this involving musical road.
The B-Side Peace of Mind and a Good Night’s Sleep compliments Loyalty perfectly, you must take the time to get immersed in these musical storytelling gems, independent music seems to be forever fighting a rearguard action against the corporate bullshit that abounds in the music industry of late but, with bands like Sleeperman giving us intelligent music with stories that we can relate to on a personal level, long may that fight continue.
Let’s get something straight from the off, there are no zombies and (unfortunately for the hungry ones out there) no sign of any picnic of any variety but, what this striking album cover does contain is a very intriguing and involving six tracks of mainly instrumental music.
There seems to be a real clamour for that instrumental album with ‘snippets of archival voice recordings’ at the moment. Take Public Service Broadcasting and Nordic Giants for starters, and I’m a fully paid up member of the appreciation society!
Now Northern Ireland’s Zombie Picnic return with their second album and this time around the post-rock progressive four-piece presents six connected instrumental tracks spanning the two sides of this new LP. Combining a vast array of progressive musical influences with snippets of archival voice recordings (there you go, told you!) from thinkers and futurists of past and present, ‘Rise of a New Ideology’ delves into some dark and ambiguous places.
What we get is six pieces of thoughtful, intelligent music that really get you involved in this album. Opener Democracy Cannot Survive, with its slow burning, dark and sombre feel, starts things as they mean to go on. The contemplative, methodical rhythm section really gives focus to this song and the wispy, spaced out guitars take you on a magical mystery tour. It is nine minutes of mesmerising, metronomic music that draws you in to its earnest embrace. They See Science As Dangerous has a real west coast feel to it with the more psychedelic guitars and edgy drumming, where the previous track was all softness and rounded edges there’s a sharper, more blunt feel to the music on this song. Pugnacious, punky and in your face, yet with a 70’s feel, it is a well thought out piece of music. DEFCON is as laid back and chilled as they come. Nostalgia is there in droves and it has a lazy and hazy summer feel to it, life is good! It opens up into quicker paced, more insistent track with some stylish guitar playing but it never loses that twinkle in its eye or that skip in its step.
There seems to be almost a sea-change as we come to track four where the spaced out, ambient sound takes a sharp ninety degree turn and becomes a lot more alt-rock and punky. Life-Support Systems sees an urgent, jangly guitar note take over and the rhythm section seems to press the fast forward button. It’s a clever contrast in styles and gives the album added impetus. There are a few lulls thrown in to give some context and the guitar playing really does go up a notch, they’re a really talented bunch these guys. See Beyond sees the band take another chill pill and give us another luscious and relaxed track where life seems to move at a much more easygoing pace and becomes nonchalant and spontaneous. The music takes on a breezy feel in places but there is always that feelgood undercurrent. Bang! That’s the hit to the auditory senses that the raging intro to Anger in Storage (Denial Will Follow) gives you, a violent mini-storm of angry music that blows you away. There is a calming of the storm but that uneasy, restless feel remains and you’re never far away from a Nirvana-like blast of guitars and drums to lull you out of any false sense of security you may have built up. An impassioned and cleverly indignant end to what has been an intense whirlwind thirty seven minutes of music.
I’m a big fan of music that takes me in a new direction and gives me a little something that I haven’t had before. The exemplary musicianship and well-crafted songs on ‘Rise of a New Ideology’ take an acknowledged genre and take it to the next level. Zombie Picnic are a band who are going places very quickly, just don’t expect rotting flesh and sausage rolls along the way…
TesseracT who are set to release their fourth studio album Sonder on April 20th 2018 through Kscope have announced details for their European headline tour with support from Between The Buried and Me and Plini. Vocalist Daniel Tompkins comments:
“To have such a strong support bill with us means the SONDER European Tour could be the event of 2018 for many progressive rock fans! We’re bringing an exciting new production, which properly represents TesseracT in a live environment. Joining us are our friends in Between The Buried And Me – it’s been a long time since we last toured with them and it will definitely be worth the wait. To cap it all off we’re also bringing along the mighty Plini – this will be our second tour of 2018 with him, he’s an amazing musician and gives the tour a great dynamism!”
TESSERACT – SONDER EUROPEAN TOUR 2018
November 09, 2018 DE – Cologne, Live Music Hall
November 10, 2018 NL – Nijmegen, Doornroosje
November 11, 2018 BE – Vosselaar, Biebob
November 12, 2018 FR – Paris, Le Trabendo
November 13, 2018 DE – Aschaffenburg, Colos-Saal
November 14, 2018 DE – Hamburg, Gruenspan
November 15, 2018 DK – Copenhagen, Pumpehuset
November 16, 2018 NO – Oslo, Parkteatret
November 17, 2018 SE – Stockholm, Kägelbanan
November 19, 2018 DE – Berlin, Lido
November 20, 2018 DE – Stuttgart, Im Wizemann
November 21, 2018 AT – Vienna, Flex
November 22, 2018 DE – Munich, Backstage
November 23, 2018 CH – Aarau, Kiff
November 24, 2018 IT – Parma, Campus Industry
November 25, 2018 LU – Esch, Rockhal
Tickets are on sale 9th March at 9am GMT / 10am CET. See tesseractband.co.uk for details.
Expect more dates to be added over the coming months.
Sonderadds significant firepower to the band’s arsenal, blending the harsh abrasiveness of One (2011) and progressive ethereal elements of Altered State (2013) with the accessibility of Polaris (2015). Sonder is streamlined, honest and direct with all the trademark TesseracT dreamy atmospherics and bending grooves. Sonder was recorded in the UK at 4D Sounds, Celestial Sounds and Project Studios, engineered by the band and Aiden O’Brien with mastering by Acle Kahney, and cover artwork designed by Amos Williams.
Scottish duo Midas Fall (Elizabeth Heaton and Rowan Burn) release their fourth album,‘Evaporate’, on 27 April.
“Bruise Pusher”, the opening track from the album, is a visceral display of ferocious beauty which alternates between Elizabeth Heaton’s delicate vocals and a savage cacophony of guitar, drums and synths, to create a disconcerting atmosphere.
“Bruise Pusher is about living in a volatile environment, constantly anticipating the underlying tension erupting into something hideous and unsettlingly familiar”, says Heaton. “The song started with just a simple piano melody, so to develop the track we used a lot of guitars with rumbling, saturated reverbs and gradually added heavy synths to create textured, expansive choruses.”
Produced and recorded by Elizabeth Heaton, ‘Evaporate’ shimmers with a dark, gothic grace, conjuring stunning soundscapes at every turn. The album will be released worldwide by Monotreme Records on April 27th on CD and digital formats, as well as a limited pressing of 500 LPs on 180-gram vinyl (200 black and 300 clear blue/black).
Thirteen years ago Kino opened the doors and eager fans flocked to the blockbuster ‘Picture’.
Starring a stalwart cast of Trewavas, Mitchell, Beck and Maitland, much was expected. Fans and critics alike gave the collaboration a warm reception and they toured venues with Spock’s Beard.
One may have expected to see this Super-group follow up their success with a ‘part 2’, or a ‘return of’, individual commitments permitting, but it all went quiet.
The projectors stopped rolling and the doors closed. Dust settled on the red velour seats, whilst spiders built webs across discarded popcorn containers and their remaining contents long since dried and adhered to the now moth eaten carpeted steps. The lights went out, the drinks machines dried up and a distinct musty hot dog scent drifted on the dust motes, floating across the sunbeams coming through the smeared window panes of the foyer.
Nothing in the last 13 years, barring a vinyl release of ‘Picture’, until, out of hibernation they emerge with new offering ‘Radio Voltaire’.
So what to expect, most of the original cast are back, starring John Mitchell (Lead Vocals/Guitar) and Pete Trewavas (Bass/Backing Vocals) with special guest appearance from John Beck (keyboards) along with a co-starring role for Craig Blundell on the drum stool, replacing Chris Maitland who had in reality already left the band before the release of ‘Picture’due to other commitments.
But this is a somewhat different affair to the first album and was a far shorter gestation period in the making, with the main driving forces being Trewavas and Mitchell (who also produced, coordinated and organised everything). Having been ready to start work on a further Lonely Robot album, it was suggested by Inside Out that Mitchell might consider the idea of a new Kino album and after a fruitful meeting with Trewavas unearthed the fact they both already had some material between them, they completed the writing process in August 2017. The recording process ran smoothly and was completed over the final two months of last year.
Will this album bring them back into the spotlights again and reintroduce the glitz and glamour of yesteryear to become another cinematic offering to great applause, or will it be confined to the bargain bins with lacklustre ‘B’ movies, as the ravages of time dealt their scorn and indifference?
With a striking album cover design from in demand artist Paul Tippet we’re off to a good start, let’s see. The lights go down, the curtain opens and the silent motion of the digital projection hits the screen…
A crackling German 1920’s radio announcement for Radio Voltaire the title track, preceding John Beck’s swirling keyboards before guitar punches from the gramophone speakers, settling into John Mitchell’s familiar voice building harmoniously on driving rhythms from Messrs Trewavas and Blundell, to epic guitar swashbuckling from Mitchell in his own inimitable style, as scene one fades in the echo of sonar.
Dusty German voices (must get the stylus cleaned) introduce the plunking keys of first single, The Dead Club, as heavy driving guitars and ‘spacey’ swirly knob/key twiddling projects into our ears as this scene races along, spewing PopProg fuel in it’s wake. Building into an edgy musical storm before the repeated track title from John 1 concludes with John 2 stabbing furiously at those terrified keys and we are blasted off track from a ray-gun synth. Kino are flying.
Gentle, haunting keys from the fingers of John Beck break the pace as John Mitchell pitches the emotional vocals and beautiful lyrics of Idlewild perfectly. Swelling gradually, it comfortingly fills all your instrumental emotions as you sit transfixed on the ballad playing out on the screen, dabbing at the corner of your eyes.
A pastiche of 70’s classic rock influences abound on track 4 which, without the guidance of our illustrious Director in Charge, Mr Mitchell could easily have fallen into a derivative mess. I Don’t Know Why anyone could possibly think this fabulously talented quartet wouldn’t pull it off, as they are all performing at the top of their game, adding just the right touches to keep it a refreshing, glittering smile and wink homage.
We are returned to a twenties, cobwebbed vocal/piano introduction (where is that needle brush?) which is suddenly robbed by a cheeky riff on The Who’s ‘Won’t Get Fooled Again’ from Mr Beck, as JM tells us I Won’t Break So Easily Any More. Blazing guitar work, throbbing bass and thundering drums between only slightly restrained verses, with a nod to a MMEB keyboard style, are all rolled into a perfect Kino energy bar.
A Baroque style, acoustic guitar and piano riff dance balletically round Temple Tudor castles, as the wistful lyrics are delivered with honest emotion, crafted beautifully.
The ticking clock with ringing alarm bell, breaks us from our reveries as we are rocked into a warning of our own mortality spanning genres and tempos as we are advised we are running Out Of Time. Pete Trewavas and Craig Blundell shine and glisten like polished glass, as they blend in and out of each other. The commanding bass rhythms are splashed with drops of time signatured percussion that leave you hanging on the edge of your seat wishing it would never end. Anyone who knows me is aware I am not a great lover of jazz, so believe me when I tell you this is a delicious feast for the ears.
Relax in hazy summer keys and soft wispy clouds of vocals as they float above us in the Warmth Of The Sunbasking in this soothing moment of relaxation.
Craig Blundell‘s percussive patterns navigate us back on board for the ride around Grey Shapes on Concrete Fieldschanging tempo and showcasing his phenomenal mastery with panache. Driven with keys, guitars and vocals on a race, hitting a breathless abrupt end, that comes all too soon for me. You just want tracks like this to never end.
If there is to be a ‘B’ movie actor on this award hunting album, it would be this track for me though I should Keep the Faith. There is nothing inherently wrong with the music or vocals, but it treads water after the fire of the previous track and the relaxing interlude before it. As the penultimate track it applies the brakes as we had just begun to press the accelerator down the finishing straight.
All is forgotten as the The Silent Fighter Pilot, flies into view for our final foray across the silver-screen, engines roaring defiance as it passes overhead. Telling the the story of a fighter pilot giving his life, through John Mitchell‘s embittered vocals with his raging guitar showering notes like bullets of vengeance. Struck by the futility of war, a fatal blow that sees the track spiral out of control to it’s tragic demise, in a haunting memory.
I’m struck silent for a minute and the Wow!
Wow! Wow! WOW!
‘Radio Voltaire’ is a must buy for anyone who liked ‘Picture’, who rate anything the band members have produced in the past, in fact all lovers of Prog music at it’s most sublime.
Everyone performs like their lives depend on it, with a joyous freedom to explore, whilst keeping the Kino sound they have built, but expanding the experience to ear busting IMAX levels.
I declare this cinema well and truly open for business and suggest getting your tickets booked, this could attract a full house, night after night.
2nd March 2018 – On 2nd April Marillion release ALL ONE TONIGHT the live DVD of their Royal Albert Hall Show filmed in October 2017. On 26th March, there will be screenings of the show in 6 Everyman Cinemas across the UK. Marillion will host the screening at the Kings Cross Everyman. Tickets available from:
On October 13 2017 Marillion played the Royal Albert Hall for the first time in their near forty year career. The show sold out in minutes, a full year before the band took to the stage at the iconic London venue. The audience, many of whom had travelled over oceans for the show, were treated to a Marillion show like no other.
In two parts, ‘All One Tonight’ firstly showcases the band’s acclaimed 2016 studio album ‘F E A R’ in full. Accompanied by an awe inspiring light show and films, Marillion perform their incisive and era defining zeitgeist with unparalleled passion and power.
The second half introduces In Praise of Folly and guests, a string quartet with flute and French horn that throughout the rest of the show inject an extra depth and emotion to some of Marillion’s best loved live material. Once again, with amazing lights and audience participation, Marillion steal the night, proving that they more than belong on the stage that has been trod by the most acclaimed musicians. Directed and edited by Tim Sidwell, recorded and mixed by Michael Hunter, ‘All One Tonight’ is a Racket Records and Toward Infinity production.
Marillion embark on their UK tour on 8th April.
FULL 2018 Tour Dates are:-
Date City Venue
Sun 8th April Belfast Ulster Hall NEW DATE
Mon 9th April Dublin Vicar Street NEW DATE
Wed 11th April Gateshead The Sage last few tickets available
Fri 13th April Cambridge Corn Exchange SOLD-OUT
Sat 14th April Birmingham Symphony Hall SOLD-OUT
Mon 16th April Brighton Dome last few tickets available
Tue 17th April Bristol Colston Hall SOLD-OUT
Thu 19th April Reading Hexagon SOLD-OUT
Fri 20th April Liverpool Philharmonic Hall SOLD-OUT
Sun 22nd April York Barbican NEW DATE
Tickets available from myticket.co.uk, seetickets.com & venue box offices.
Ex-Enid frontman, Joe Payne relaunches as soloist “That Joe Payne”, announced direct from his website, published Friday 1st December 2017. He states, “After months of hard work, writing and recording, I am delighted to announce my return to music after a long and much needed rest.” Referencing to his updated name, Payne explains “If you’re wondering where “that” came from… It’s a reminder to myself never to allow my anxiety to break me again.”
Payne is best known for his work as frontman of progressive rock outfit, The Enid (2011-2016). In April 2016, shortly after the release of their last album, Dust, Payne fell ill with depression and anxiety. Unable to work, he officially announced his departure from The Enid in September 2016. His personal achievements include being voted Best Male Vocalist for two years running in the Prog Magazine Readers’ Poll (2014 & 2015) and three Progressive Music Award Nominations.
The singer songwriter has launched pre-sales for his debut single, ‘I Need a Change’ via his online shop. He describes the song as “the most heartfelt thing I’ve ever done” and “8 minutes and 23 seconds of pure unadulterated me.”
The music, written and arranged entirely by Payne, was brought to life in the studio with the help of three other recently retired Enid members; Max Read (singer and producer), Nic Willes (drums and bass) and Duncan McLaughlan (guitar). Artwork and typography have also been credited to Louis Sidis and Martin Kielty.
The record will be released in sync with the artist’s first live performance in almost 2 years. A re-launch show in his hometown of Northampton, at a converted cinema called The Picturedrome. Payne tells his followers he’ll be performing “the best of my back catalogue” for this one-off event, including songs from The Enid and other collaborations.
Tickets on sale now at www.seetickets.com.
I Need a Change (Single)
Track List:
A: I Need a Change
B: Moonlit Love
Bonus Tracks (CD ONLY):
3. I Need a Change (45 Edit)
4. I Need a Change (Piano & Lead Vocals)
5. I Need a Change (String Quintet & Lead Vocals)
6. I Need a Change (Choir & Lead Vocals)
7. I Need a Change (Full Arrangement, no Lead Vocals)
