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Hot Chip
New Releases

Hot Chip announce ninth album A Long Way From Kansas

written by Sam Warrenger

Hot Chip have announced their ninth album, A Long Way From Kansas, set for release on 8 January 2027. The London band have shared the first single, Random Violence, a tribute to Optimo’s Keith McIvor, and confirmed a UK and European tour that includes London’s Exhibition White City on 12 March.

The album title paraphrases The Wizard of Oz, nodding to Dorothy, her dog, and the distance they needed to travel to get home and find some sense of normality. The band say the record finds them at their most primal. Artwork is by Scott King, and the announcement photo is by Fiona Garden.

Random Violence is described as a majestic tribute to McIvor, also known as JD Twitch. Goddard sings, “And your friends will tell their stories / About a man who spent his life / Sending songs out into the world / Tall ships in the wind,” before Alexis Taylor joins with, “You gave me something to believe in.” Al Doyle calls the song’s effect a “human connection”.

Joe Goddard said: “Last year in September our old friend and brilliant DJ Keith McIvor of Optimo in Glasgow passed away after a diagnosis of an inoperable brain tumour a few months earlier. He largely inspired the words of the song. He was a passionate music lover and a staunch believer in socialism. Many of the words relate directly to his death and to memories of being in Sub Club in Glasgow where we met 20 years ago.”

The video, directed by Jack Cole, features the all-female progressive morris dancing side Boss Morris. It is framed as a celebration of togetherness, music, resistance, love and a life well lived. Al Doyle said: “We invited some woodland spirits, cursed animals and crazed dancers to join us in a celebration of humanity, remembrance and resistance. The genesis of the idea came from the Optimo Espookio Halloween parties we experienced at Sub Club and we wanted to capture that feeling in the video. It was exactly as much fun as it looks, which is to say we had an absolute blast.” Watch the video and stream Random Violence.

To mark the announcement and McIvor’s legacy, Hot Chip will DJ with friends at Glasgow’s Sub Club on Wednesday 21 October. The album follows their appearance in the second season of Netflix’s Beef earlier this year, playing live alongside Oscar Isaac, and the 20th anniversary of The Warning in May, which they marked on NPR’s Song Exploder.

Recorded earlier this year at Joe Goddard and Al Doyle’s East London studio, Relax and Enjoy, the album responds to what the band describe as a harsher world, with distortion as a watchword. Alexis Taylor said: “A Long Way From Kansas reflects the general sense that the world we live in, the world we were making our record in, is particularly harsh, discordant, violent and depressing. Maybe none of that’s new, and that doesn’t mean that every song is talking about the world and politics and genocide, but it was an unavoidable backdrop while making the music.”

Beth Ditto and Eddie Chacon guest, while Owen Clarke and Felix Martin also sing, the latter for the first time on a Hot Chip record. Taylor added that a choir and group singing open out the band’s “interior world”. The 11-track album runs:

  1. Stuck Around
  2. Waiting Around
  3. Random Violence
  4. The Mask Is Slipping
  5. Splinter
  6. Shortcut To Love
  7. Me In Your Head (feat. Beth Ditto)
  8. Hook Me Up
  9. Secular Hymns
  10. The Garden (feat. Eddie Chacon)
  11. Crushing

A Long Way From Kansas is available to pre-order as a deluxe double gatefold LP with an additional 7″, a standard double gatefold LP, CD and digital. First pressings of the deluxe and standard LPs come in a limited-edition spot gloss and foil blocking sleeve. Pre-order via Hot Chip’s store, Domino Mart or digitally. A pre-order unlocks tour pre-sale access, with general sale from Friday 23 October.

The tour follows previous live accolades including a sold-out four-night residency at Brixton Academy. Festival regulars, the band are also booked for a main stage DJ set at Birmingham’s Mostly Jazz Funk and Soul Festival on Friday 10 July 2026.

Upcoming DJ date

  • Wed 21 October: Sub Club, Glasgow

Upcoming live dates

  • Fri 26 February: Astra, Berlin
  • Sun 28 February: La Madeleine, Brussels
  • Mon 1 March: Paradiso, Amsterdam
  • Tue 2 March: Le Bataclan, Paris
  • Thu 4 March: 3Olympia, Dublin
  • Sat 6 March: Leeds Beckett Students’ Union, Leeds
  • Mon 8 March: SWG3 Galvanizers, Glasgow
  • Tue 9 March: Albert Hall, Manchester
  • Wed 10 March: O2 Academy Bristol
  • Fri 12 March: Exhibition White City, London

Image credits: Fiona Garden
In this article:
Disclosures: TheFestivals is funded through advertising and sometimes earns a commission on purchases made through links on this website, including in this article: None

19th October 2026 0 comments
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audience
Music News

Olivia Dean is 3/1 favourite to win the Mercury Prize

written by Sam Warrenger

Olivia Dean is William Hill’s 3/1 favourite to win the 2026 Mercury Prize when the ceremony returns to Newcastle on Thursday night (22 October). Her second album, The Art Of Loving, heads the outright market, narrowly ahead of Nia Archives’ Emotional Junglist at 4/1 and RAYE at 9/2.

The bookies are not calling it a procession. William Hill spokesperson Lee Phelps said that while Dean is favourite “to land the Mercury Prize on Thursday night, the rest of the market suggests it is far from a done deal.” He added that Nia Archives and RAYE “are firmly in the mix to win best album of 2026”, and that a late twist in Newcastle would not be a shock as they “continue to breathe down Dean’s neck.”

Dave is next at 7/1 for The Boy Who Played the Harp. Kojey Radical (Don’t Look Down) and Newcastle jazz band Knats (A Great Day In Newcastle) are both 9/1. The rest of the shortlist is grouped at 10/1. Prices were correct at the time of writing and can change. The full outright market is on William Hill.

William Hill Mercury Prize outright:

  • Olivia Dean, 3/1
  • Nia Archives, 4/1
  • RAYE, 9/2
  • Dave, 7/1
  • Kojey Radical, 9/1
  • Knats, 9/1
  • BAR (the field), 10/1

The sold-out awards show is at Utilita Arena Newcastle, hosted by North East broadcaster Lauren Laverne. BBC Four carries the ceremony from 9.30pm, with BBC Radio 6 Music on air from Newcastle from 7pm. Live sets are due from Olivia Dean, Nia Archives, RAYE, Knats, Kojey Radical, JADE, Florence + The Machine, Dove Ellis and Suede, plus Pulp on behalf of the War Child compilation HELP(2). Dave and Paul McCartney will be marked with a short film rather than a performance.

Dean goes in on a heavy run of form. The Art Of Loving, the follow-up to her 2023 debut Messy, has already won Album of the Year at the BRITs and the MOBOs, and it is the biggest seller on this year’s list, with 699,113 units consumed. She was nominated before, for Messy. Festival crowds have already had a close look. She joined Sabrina Carpenter as a special guest at BST Hyde Park, and shared an all-female headliner day with Nia Archives at FORWARDS Festival in Bristol.

Nia Archives is chasing a first win after a previous shortlist appearance. Emotional Junglist is the only dance record in this year’s 12. RAYE is in with the No.1 album This Music May Contain Hope. Dave, who won the prize in 2019 with Psychodrama, is back for a second time. The £25,000 prize is decided on the night by an independent judging panel.

There is a strong North East thread beyond the betting. Knats are first-time nominees, and South Shields’ JADE is shortlisted for That’s Showbiz Baby! The rest of the 12 takes in Florence + The Machine, Suede, Galway newcomer Dove Ellis, Kojey Radical, Sir Paul McCartney’s first Mercury nomination (for The Boys of Dungeon Lane, at 84), and War Child’s HELP(2), only the second compilation ever shortlisted.bbc+1

Last year’s ceremony, the first held outside London, went to hometown hero Sam Fender for People Watching. He was not the market leader. CMAT had been the bookies’ favourite, which is the cautionary tale behind Phelps’ warning that Thursday is still open. Fender later gave his £25,000 prize to the Music Venue Trust.

Around the arena show, the Mercury Prize Fringe runs across Newcastle from 15 to 22 October, with more than 30 events programmed by Generator. That includes a homecoming listening party for Knats at the John Marley Centre on Tuesday 20 October. The fringe programme is at generator.org.uk.

19th October 2026 0 comments
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image 5
Features

Why Cryptocurrency Is Becoming Part of the Digital Entertainment Economy

written by Taylor Bradshaw

Payment flexibility for games, streaming, and other online entertainment is growing. Cryptocurrency offers more ways to make payments outside of traditional banking. Virtual items, subscriptions, and tips are a few things that can already be purchased with digital coins. Crypto payments are gaining traction, but are the positives outweighing the negatives? Let’s break down the costs, what to look out for, and other useful information.

Why More Entertainment Platforms Are Accepting Cryptocurrency

What good is discovering a cool gaming platform only to find your bank blocks international payments? This happens to a lot of people in countries with strict banking rules and limited payment options. One alternative payment method is to use cryptocurrency. Some services accept Bitcoin. Others also accept stablecoins, which are cryptocurrencies pegged to traditional currencies. Players interested in casino entertainment can use the Melbet download to access the platform’s mobile gaming features and available payment options. Online casinos can offer convenient access to games and multiple payment methods, depending on local availability. The choice depends on the transaction cost, payment speed, and available networks.

There are various reasons why a business may want to offer crypto as a payment option. For international payments, transactions are not routed through a series of banks. Some crypto payment processors also immediately convert the cryptocurrency to traditional currencies, eliminating the risk of price fluctuations for the business. Accepting payment in crypto does not affect the business’s obligations to customers, like providing refunds. It also doesn’t change the business’s legal obligations.

image 5

Where People Already Use Cryptocurrency for Entertainment

Cryptocurrency has moved beyond trading apps and found its way into entertainment services. However, its purpose changes depending on what people want to buy or access. Here are four areas where digital currencies already have practical uses:

  • Online gaming: Players can purchase games, add funds, or buy virtual items using supported cryptocurrencies.
  • Streaming services: Some creators accept crypto tips, paid memberships, and direct payments from international audiences.
  • Online casinos: Certain operators support crypto deposits and withdrawals where local gambling laws allow them.
  • Digital collectibles: Blockchain technology lets users hold and transfer tokens linked to virtual items.

These options sound convenient, but they don’t always save users money. Network fees can rise, and some platforms charge extra for processing payments. A cheap purchase can become surprisingly expensive when several fees appear at checkout. Checking the final amount before confirming a transaction can prevent unpleasant surprises.

How Blockchain Changes Payments and Digital Ownership

Cryptocurrency does more than offer another button at checkout. It also changes how certain digital purchases and transfers can work. The Melbet bookmaker brings these payment options into sports betting, giving users more flexibility when managing their funds. Sports betting platforms can also offer convenient access to live odds, match statistics, and different betting markets. Two areas matter most: moving money internationally and managing ownership of virtual items. Both offer useful possibilities, although neither works perfectly across every entertainment platform.

Why International Payments Can Become Easier

Sending money abroad through a bank can involve several steps and unexpected charges. Some transfers take days, especially when different currencies and financial institutions are involved. Cryptocurrency lets users send funds directly between compatible wallets without traditional banking intermediaries. Certain blockchain networks confirm payments within seconds, making international transactions much more convenient.

However, not every cryptocurrency works equally well for everyday purchases and entertainment payments. Bitcoin prices can change quickly, while stablecoins aim to maintain a more predictable value. Some businesses also use payment providers to convert cryptocurrency into regular money automatically. These services can simplify payments, although additional fees and network restrictions may apply. Users should always check transaction costs and supported networks before sending funds.

image 6

Can Players Really Own Their Digital Items?

Even when you buy a rare in-game item or skin, you may not truly own it. In conventional games, items purchased stay within the accounts controlled by the game publishers. Players may lose access to all items they purchased when the game shuts down. Blockchain provides a different way to address this by recording the ownership of digital tokens outside the game’s database.

In theory, supported tokens can be transferred between different wallets or be sold in marketplaces. Owning a token will not make a player the copyright holder or give access to the token in other games. In-game items cannot work in other games just because a developer markets the item that way. There are game systems that need to be created first to support the use of these items. What features a game item truly has is more important than what a developer markets a game to have.

What Comes Next for Cryptocurrency in Digital Entertainment?

More convenient and less expensive methods of payment will increase the adoption of cryptocurrency. The main reason people don’t use digital currencies is that they are not user-friendly and charge high fees. Users expect secure transactions and support when things go wrong. All of the above factors will lead to better entertainment payment systems. Cryptocurrency has the most potential to integrate payment systems into online entertainment, but users need the promise of transaction security and reassurance.

19th October 2026 0 comments
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mathurin napoly matnapo Dw7e2 fFvkM unsplash
Features

Tap to Pay, Tap to Play: What Cashless Festivals Teach UK Fans About Spending Limits

written by Taylor Bradshaw

It is the Tuesday after the festival. The tent is drying in the garden, the wristband is still on, and Jess, a 29-year-old events coordinator from Leeds, finally opens her banking app. The weekend she had budgeted at £150 for food and drink has quietly cost nearly twice that. No single purchase felt large. A tap for a coffee, a tap for a round, a tap for a late-night wrap, and an automatic top-up every time the balance ran low. Nothing about it felt like spending, which is exactly the point.

Jess is not careless with money. She plans her festival season months ahead, splits travel costs with friends and knows to the pound what each ticket cost. What caught her out was not the price of anything, but how easy it had become to pay for it. And that raises a question that reaches well beyond the campsite: when paying takes no effort at all, who is actually keeping an eye on the limit?

How Wristbands Took Over the British Festival

A decade ago, festival spending meant queuing at a cash machine with a dwindling signal and guarding a damp wallet in your pocket for four days. Today, a growing number of UK festivals run largely or entirely cashless. Wristbands linked to a card or a pre-loaded balance have replaced coins and notes at bars, food stalls and merchandise tents.

The benefits are real. Queues move faster, traders handle less cash, and losing a wristband is easier to fix than losing a wallet. Most systems let you check your balance on your phone and claim back unused credit after the event. For organisers, the data shows what sells, when, and where to put the next bar.

The trade-off is psychological. Researchers who study payment behaviour have long noted that people tend to spend more when the act of paying feels less like parting with money. Handing over a twenty-pound note registers. A tap of the wrist barely does. Add automatic top-ups, and the moment where you would normally stop and think simply disappears.

That same one-touch logic now runs through much of modern life: contactless cards, saved payment details, one-click checkouts and, increasingly, online gaming, where a deposit can take seconds and a session can stretch far longer than planned.

Who Sets the Limit?

Whether you are at a festival bar or on a gaming site, there are broadly three ways a spending limit can be set. Each puts the responsibility in a different place.

The organiser sets it

Some festival systems cap how much can be loaded onto a wristband, limit top-ups per day or require the account holder to approve automatic reloads. These limits are built into the product. You can work within them, but you did not choose them, and they exist partly to protect the organiser from fraud and disputes as much as to protect you.

The regulator sets it

In gambling, the strongest limits come from regulation. Operators licensed by the Gambling Commission in Great Britain must run age and identity checks, offer deposit limits and time-outs, and connect to GamStop, the free national self-exclusion scheme. Someone who registers with GamStop is blocked from every licensed British gambling site for the period they choose, which can be as long as five years. It is a safety net designed to work even on the days when willpower does not.

You set it

The third model leaves everything to the individual. This is where Jess’s friends come in. Over the winter, between festival seasons, a few of them play casino games online, and not all of them stick to British-licensed sites. Some deliberately choose Non Gamstop Casinos UK players can join, operators licensed overseas that are not connected to the national scheme. They tend to give a range of reasons: fewer verification steps, different payment options, or simply wanting to make their own decisions. What they give up is the external safety net. On those sites, the only limit is the one the player sets.

None of these models is automatically right or wrong. But it helps to know which one you are in, because the protections, and the responsibility, are very different in each.

The Off-Season

From October to April, the festival calendar goes quiet. For dedicated fans like Jess, the off-season has its own rhythm: rewatching streamed sets, arguing over rumoured headliners, refreshing ticket pages on release day and planning the summer ahead in a group chat that never really sleeps.

It is also when spending habits change shape. There are no wristbands to top up, but there are streaming subscriptions, gig tickets in smaller venues, takeaways on cold evenings and, for some, online games. When Jess compared her bank statements across a full year, she noticed something she had not expected. Her summer spending was higher, but it was concentrated and planned. Her winter spending was lower, yet scattered across dozens of small, unplanned payments that were much harder to keep track of.

Among her friends, the ones playing at sites outside GamStop described the same pattern. Deposits were quick and small, which made them feel harmless, until they added them up at the end of the month. It was the wristband problem all over again, just without the mud.

Wristband vs Account: A Side-by-Side Look

Putting the three settings next to each other makes the differences clearer. The table below compares a typical festival wristband with a British-licensed online casino and an offshore site not covered by GamStop.

FeatureFestival wristbandUK-licensed casinoCasino not on GamStop
Who sets the limitOrganiser and youRegulator, operator and youMainly you
Self-exclusionNot applicableGamStop covers all licensed sitesNot connected to GamStop
Deposit or top-up limitsOften built inMust be offeredVaries by site
Getting money backRefund of unused credit after the eventWithdrawals under UK rulesDepends on the overseas licence
Complaints routeOrganiser or payment providerOperator, then an approved dispute serviceOperator and overseas regulator
How fast money movesInstant tapFast, with checksOften very fast, fewer checks

The pattern is simple. The fewer external checks there are, the faster money moves and the more the safety of the whole arrangement depends on the person holding the phone.

Jess’s Season Budget

After that expensive Tuesday, Jess rebuilt her approach for the following year. Rather than relying on any system to stop her, she decided to set her own rules before she arrived anywhere, whether that meant a field in Somerset or a login screen.

Her plan for the season looked like this:

Tickets and travel: paid early, in full, and kept in a separate savings pot so they never mixed with day-to-day money.

Festival spending: a fixed amount loaded onto each wristband before the gates opened, with automatic top-ups switched off. When the balance ran out, she had to make a conscious decision to add more.

Off-season entertainment: a monthly allowance covering gigs, streaming and any online games, kept on a separate card with its own limit.

A monthly review: fifteen minutes on the first Sunday of each month to look at where the money actually went.

Setting your own rules before the gates open

The principle Jess landed on works in both worlds: decide the limit while you are calm, not in the moment. At a festival, that means loading a set amount and disabling auto top-up. Online, it means using deposit limits, setting session reminders and paying from a card that cannot be refilled on impulse. Anyone who plays on non GamStop sites has to be especially deliberate here, because no outside scheme will step in if a weekend gets out of hand.

Warning signs worth watching

Whether the spending happens at a bar or on a screen, the early signs of trouble look similar: topping up more often than planned, losing track of the total, spending money set aside for something else, or feeling the need to win back what has already gone. Spotting these early is far easier than repairing the damage later.

Final Encore

Cashless festivals have made the British summer smoother, faster and, for many, more expensive than expected. The lesson Jess took from her wristband applies far beyond the arena. When paying is effortless, limits matter more, and they increasingly have to come from you rather than from the system around you.

That is true at the bar, and it is just as true online, especially on sites that sit outside GamStop. Know which model you are in, set your rules in advance, and enjoy the music. If gambling ever stops feeling like entertainment, free and confidential support is available from GamCare and BeGambleAware, and GamStop registration takes only a few minutes.

19th October 2026 0 comments
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Shed Seven York Stadium poster
Line-up

Shed Seven to play the biggest headline show of their career

written by Sam Warrenger

Shed Seven will play the biggest headline show of their career at York’s LNER Community Stadium on Saturday 29 May 2027. The K’s, Reverend and the Makers and The Mersey Beatles complete the line-up.

More than 30 years in, the gig follows two UK Number 1 albums, some of the biggest shows of their career, and a Best Live Act win at the AIM Independent Music Awards. It also follows two sold out nights at York Museum Gardens in 2024. Those chart-toppers, A Matter of Time and Liquid Gold, also landed them a Wychwood Festival headline. York is the step up from that, with their biggest production yet and a career-spanning set.

The stadium has a 14,000 capacity, and frontman Rick Witter says Shed Seven will be the first band to play it. It sits a stone’s throw from Huntington, where the band met, went to school, and where Shed Seven started.

An exclusive artist pre-sale opens at 10am on Tuesday 20 October for anyone signed up to the Shed Seven mailing list. Fans need to be signed up by 12pm on Monday 19 October. York also gets its own local pre-sale, with posters and beer mats around the city carrying QR codes, before remaining tickets go on general sale at 10am on Friday 23 October via Ticketmaster.

SHED SEVEN CREDIT TOM OXLEY 2

Rick said the date is the one they talked about as school kids. “Our ambition, even as school kids, was to one day play our own stadium show. What kid who dreams of being in a rock ‘n’ roll band doesn’t want to do that? Now, almost 40 years later, we’ve reached the point where we thought, it’s now or never. And if we were going to do it, it had to be York.”

“What will make it even more special is that the stadium is a stone’s throw from where we met, went to school and where we first formed a band. We’re coming back to pretty much where it all began to play the biggest show of our career and that is a proper full-circle moment.” He called the 2024 Museum Gardens shows incredible, and said the fanbase is the reason a stadium gig is even possible. “We really hope they’ll travel from all over again, make a weekend of it and let us welcome them to our wonderful home. Expect a huge career-spanning set and for us to push the production further than we ever have before.”

To mark the show, Shed Seven are releasing a limited York Edition of their forthcoming self-titled album, with artwork made for the release and live versions of Let’s Go Dancing, Talk of the Town and Chasing Rainbows. Chasing Rainbows has become a regular terrace chant among York City supporters. £1 from every York Edition CD sold goes to York City Foundation. The York Edition CD is on sale now.

The K’s, from Earlestown, reached Number 3 with debut album I Wonder If The World Knows in April 2024, then scored a first Number 1 with Pretty On The Internet 14 months later. They headlined sold out shows at The Piece Hall in Halifax and Manchester’s Castlefield Bowl this summer. Sheffield’s Reverend and the Makers bring seventh album Heatwave In The Cold North, their first Top 10 since debut The State of Things, the record behind Heavyweight Champion of the World, He Said He Loved Me and Open The Window. The Mersey Beatles open. The Liverpool tribute were residents at the Cavern Club for more than a decade and have toured the world over the past 25 years.

There will also be a fan zone stage before the main show, with up-and-coming artists from York. The stadium date lands as Shed Seven head out on Shedcember X, their biggest UK winter tour, ahead of seventh album Shed Seven on 8 January. Lead single Stand Together has already had national radio support, including BBC Radio 2. The same run has taken in a BBC Radio 2 Piano Room session with the BBC Concert Orchestra, a return to Glastonbury, and a series of major outdoor shows.

SHED SEVEN CREDIT TOM OXLEY

Image credits: Tom Oakley
In this article:
Disclosures: TheFestivals is funded through advertising and sometimes earns a commission on purchases made through links on this website, including in this article: None

18th October 2026 0 comments
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Rachel Chinouriri
New Releases

Rachel Chinouriri releases second album and announces 2027 UK and EU headline shows

written by Sam Warrenger

Rachel Chinouriri has released her second studio album, I think I spoke too soon, today via Atlas Artists / Parlophone Records. She has also announced a June 2027 headline run across Dublin, London, Brussels, Amsterdam and Paris.

The London-born songwriter is marking the release with a Dora Paphides-directed video for Pretty girls, described as a euphoric ode to the magic of womanhood. She calls it “the anthem for all women wanting to express who they are with the freedom to not be judged,” adding that she means straight women, queer women, trans women, masc women, non binary people and “anyone who supports the girls.”

The 12-track album follows the singles One song away from crying, Make believe and Broken chair. Press material frames it as a study of the gap between who we are and who we want to be, mixing pop, indie and rock. “My core thing is you can change who you are at any moment and you can forgive yourself at any moment,” Chinouriri says. “And I think forgiving yourself is the first step in becoming a better person.”

Reviews have already landed. The Guardian called her “every pop star’s favourite UK pop star,” while NME and Rolling Stone UK both awarded the album 4 stars. The London Standard described it as “capital P pop music,” and Stylist advised fans to “listen now before she reaches headliner status.”

Fans can buy the album or merch from her official store for presale access to the June 2027 shows. General sale starts at 10am BST on Friday 23rd October. Tickets already held for the rescheduled London, Brussels and Dublin shows remain valid for the new dates.

The live run starts closer to home. On Monday, Chinouriri begins a stripped-back UK outstore tour, with a Q&A at each date. In December she supports Gracie Abrams across a North American arena run, before Lollapalooza India in January and Australia’s Laneway Festival in February, plus her own headline shows in Sydney and Melbourne. An April date at Toronto’s Scotiabank Arena is listed with Leon Bridges.

The announcement follows a busy year that has already taken in Olivia Rodrigo’s Daisy Chain Fields Festival, arena dates with Florence + The Machine, and festival sets including Wolf Alice at Finsbury Park, Governors Ball, All Things Go Toronto and Bonnaroo. She also appeared as musical guest on SNL UK alongside host Amelia Dimoldenberg, performing One song away from crying and Never Need Me.

Chinouriri’s 2024 debut, What A Devastating Turn of Events, brought BRIT Award nominations for Artist of the Year and Best New Artist, following earlier Ivor Novello and BBC Sound Of nominations. She was also a recent recipient at the O2 Silver Clef Awards. Before that, she had already been booked to headline the second stage at Bludfest in 2025 and was added to the Roskilde Festival 2025 line-up.

Her fanbase, the Darlings, has helped push her past 500 million global streams. 2025 also brought a support slot on Sabrina Carpenter’s UK and Europe Short n’ Sweet arena tour, a sold-out and upgraded debut US headline tour, a first headline show in Brazil, the Little House EP, and a feature on PinkPantheress’ rework of Romeo. Previous collaborators include Sombr, Cat Burns and Alemeda.

The full tracklist is:

  1. One song away from crying
  2. Pretty girls
  3. Baby steps
  4. Favourite desperation
  5. I’m a star
  6. AAAHHH!!!
  7. Broken chair
  8. Shiver
  9. Make believe
  10. Parasite
  11. The good fight
  12. Crash this car

Rachel Chinouriri live dates

2026

  • 19th October, Òran Mór (Assai Records), Glasgow ^
  • 20th October, The Wardrobe (Crash Records), Leeds ^
  • 23rd October, Jacaranda Baltic (Jacaranda), Liverpool ^
  • 24th October, Rough Trade Bristol, Bristol ^
  • 26th October, O2 Academy 2 (Truck), Birmingham ^
  • 27th October, Circuit (Banquet Records), London ^
  • 2nd December, Ball Arena, Denver *
  • 3rd December, Ball Arena, Denver *
  • 6th December, Oakland Arena, Oakland *
  • 7th December, Oakland Arena, Oakland *
  • 9th December, Desert Diamond Arena, Glendale *
  • 10th December, Desert Diamond Arena, Glendale *
  • 14th December, Kia Forum, Inglewood *

2027

  • 23rd to 24th January, Lollapalooza India, Mumbai
  • 12th February, Laneway Festival, Sydney
  • 13th February, Laneway Festival, Brisbane
  • 16th February, Enmore Theatre, Sydney
  • 17th February, 170 Russell, Melbourne
  • 19th February, Laneway Festival, Melbourne
  • 21st February, Laneway Festival, Auckland
  • 27th April, Scotiabank Arena, Toronto ~
  • 1st June, 3Olympia, Dublin
  • 3rd June, O2 Shepherd’s Bush Empire, London
  • 20th June, Le Botanique, Brussels
  • 21st June, Paradiso (Main Hall), Amsterdam
  • 22nd June, L’Olympia, Paris

* with Gracie Abrams
^ outstore dates
~ with Leon Bridges

Photo credit: Yana Van Nuffel.

18th October 2026 0 comments
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Warehouse Elementenstraat
Gigs

SESH brings Clara Cuvé and Alignment to ADE

written by Sam Warrenger

Berlin collective, label and party promoter SESH is bringing its high energy take on techno, trance and rave to Amsterdam Dance Event, with a daytime into evening show at Warehouse Elementenstraat on Thursday 22 October 2026.

Co-founder Clara Cuvé headlines alongside Alignment. The rest of the bill is built around back to back sets. MCR-T, SESH’s other co-founder, plays with a secret guest, PETERBLUE links up with Noise Mafia, Prada2000 teams up with UEBERREST, and Sumia goes back to back with DJ Cringey. Duo 2HOT2PLAY complete the line-up.

The show runs from 1pm to 10pm at Elementenstraat 25, 1014 AR Amsterdam. It is the next booking at the warehouse after Charlie Sparks’ ELEKTRA takeover on Wednesday 21 October. ADE lists it as MIXMAG X SESH, tagged across hard techno, hard dance and trance.

Tickets are on sale now via Xceed. The show is an official ADE festival event, so an ADE Pro Pass can also get you in, though capacity for Pro Pass holders is limited and entry is not guaranteed once the room is full. Most ADE club events are 18+.

Since forming in Berlin, SESH has pushed a fast, rave driven techno and trance sound through its own releases and showcases at RSO.BERLIN and ELSE in Berlin, FUSE in Brussels and Bootshaus in Cologne, plus shows in France, Switzerland, Malta and Portugal. After hosting Area 2 at DGTL ADE last year, the announcement bills Amsterdam as one of the collective’s biggest outings yet.

Clara Cuvé and Alignment have both already played Galactica’s Eden season in Ibiza this year, on a hard techno run that also included Charlie Sparks and Dyen.

Line-up:

  • 2HOT2PLAY
  • Alignment
  • Clara Cuvé
  • MCR-T b2b secret guest
  • PETERBLUE b2b Noise Mafia
  • Prada2000 b2b UEBERREST
  • Sumia b2b DJ Cringey
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Pitchfork poster
Line-up

Pitchfork Music Festival London unveils second wave for 2026

written by Sam Warrenger
Pitchfork poster
Click to zoom

Pitchfork Music Festival London has unveiled a second wave of names for its sixth edition, which runs across the capital from Monday 2 to Sunday 8 November 2026. New additions include DIIV, Panda Bear & Sonic Boom, Thaiboy Digital, Robert Lester Folsom, Nirosta Steel, Sarah Meth and Sex Mask, with several previously announced shows also expanded.

The latest names join an already wide first announcement led by The Avalanches & Friends, Tortoise, Jacob Alon, ear, Hania Rani, Noname, aja monet, Actress, The Radio Dept., Lido Pimienta, Los Thuthanaka, Psychedelic Porn Crumpets, Mandy, Indiana and Olof Dreijer. As with previous years, the festival is a run of individually ticketed shows rather than a single site, taking over independent venues including Roundhouse, ICA, Village Underground, MOTH Club, The Cause, KOKO, Hackney Church and Royal Festival Hall.

DIIV join the Dalston Takeover on Saturday 7 November, completing a bill already led by Psychedelic Porn Crumpets, Mandy, Indiana and Working Men’s Club. Sarah Meth and Sex Mask are also new to the multi-venue event. Wristbands cover EartH Hall, EartH Theatre, The Shacklewell Arms, The Victoria, Café Oto and St Matthias Church, with collection from 4pm at EartH Kitchen and doors at 5pm. All Dalston Takeover venues are 18+.

The full Dalston Takeover A to Z, with new names included, is:

  • 60 juno
  • bloodsports
  • cootie catcher
  • DIIV
  • Flawed Mangoes
  • Freak Slug
  • Hiding Places
  • ideasforconversations
  • lots of hands
  • Mandy, Indiana
  • Maria BC
  • Midwife
  • MX Lonely
  • Psychedelic Porn Crumpets
  • Robber Robber
  • Sarah Meth
  • SELL EVERYTHING
  • Sex Mask
  • sundots
  • Superfan
  • Swapmeet
  • TURNSPIT
  • Victoryland
  • Working Men’s Club

Elsewhere on Saturday 7 November, Drain Gang-connected rapper Thaiboy Digital headlines a standalone show at Village Underground. Scottish-born Steven Hall, recording as Nirosta Steel, headlines ICA the same night, performing his double LP My Skyscraper. The album, released on 29 June via ULYSSA, draws on recordings made between 1984 and 2025 and moves through disco, folk and synth-pop. Hall, who grew up in Milngavie on the outskirts of Glasgow, worked closely with Arthur Russell in New York, and the record includes previously unheard co-writes and accompaniment from the late composer.

On Friday 6 November, Panda Bear & Sonic Boom join The Avalanches at Roundhouse, with Arushi Jain also added for a DJ set. The current Roundhouse bill also lists Debit, Hekt and SHEE alongside The Avalanches. Pitchfork’s own write-up of the announcement additionally names Bassvictim & Friends at Troxy on the same night.

Thursday 5 November brings an intimate ICA bill headed by cult American songwriter Robert Lester Folsom, with Star Moles and Sean Solomon. ear’s sold-out takeover of The Cause the same evening adds Charlie Osborne and Ship Sket. The official programme lists the show as Charlie Osbourne and Ship Sket.

Wednesday 4 November sees MGNA Crrrta and daine’s show upgraded to Village Underground, with Touching Ice added. The festival site still lists that date at Oslo Hackney in one place and Village Underground in the announcement, so it is worth checking the ticket page before travelling. Pitchfork London Selects also completes a week-long residency at MOTH Club with a new Wednesday showcase of Rockie Rode, The Healing Power of Horses and Any Young Mechanic.

The wider week already includes Horse Jumper of Love at MOTH Club on Monday 2 November, The Radio Dept. with Ana Roxanne at KOKO on Tuesday 3 November, Tortoise at Hackney Church and Jacob Alon at Hackney Empire on Wednesday, Actress at EartH Theatre and Lido Pimienta at Village Underground on Thursday, Olof Dreijer at ICA on Friday, Noname at Roundhouse on Saturday, and Hania Rani at Royal Festival Hall on Sunday 8 November. Los Thuthanaka, who played the ICA during last year’s edition, return for an in-the-round show.

Tickets for each event are sold separately via pitchforkmusicfestival.co.uk. General sale for the newly announced events goes live on Wednesday 5 August at 10am. A playlist of this year’s artists is available via the festival’s announcement, with further updates on Instagram and at @pitchfork.

The London series launched in November 2021 and is presented in partnership between FORM and Pitchfork. Last year’s fifth edition, from 4 to 8 November 2025, closed with names including Two Shell, Mechatok and The World Is a Beautiful Place & I Am No Longer Afraid To Die, alongside King Gizzard & the Lizard Wizard, Laurie Anderson, Oklou and Unwound. Previous editions have included a Dalston Takeover, Roundhouse headline nights and one-off shows from the likes of Weyes Blood, Yaeji, Stereolab, Courtney Barnett and Ezra Collective, with the festival welcoming more than 20,000 people a year.

18th October 2026 0 comments
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Generic festival crowd couple
Music News

Government response falls short on nightlife venues, NTIA warns

written by Sam Warrenger

The Night Time Industries Association is urging the Government to strengthen protection for culturally significant venues, and to recognise the living culture those buildings sustain, after ministers responded to a House of Commons inquiry into built heritage.

The Digital, Culture, Media and Sport Committee’s report, Protecting built heritage, found gaps in protection for buildings valued for their cultural and social importance, including nightclubs, grassroots music venues and LGBTQ+ spaces. Drawing on evidence from NTIA chief executive Michael Kill, MPs recommended processes to identify and protect those spaces alongside buildings of architectural significance.

The report was published in July, after an inquiry lasting more than 18 months. On 16 October the Committee published the Government’s response. Ministers rejected the suggestion that reuse should always take priority over new construction, and ruled out a specific scheme to turn vacant historic buildings into homes.

MPs had called for a “reuse first” approach, and for a dedicated heritage to housing scheme that could help meet a large share of the Government’s 1.5 million homes target. The Committee also pointed to international examples, including Italy’s €1 homes scheme. In the same announcement, committee chair Dame Caroline Dinenage said the reply offered “very little tangible detail” on how built heritage would actually be safeguarded.

The NTIA argues that protecting a building’s exterior is not enough. It wants intangible cultural assets recognised as well: the music, creative practices, traditions, community knowledge and collective memories tied to a venue. Its case is that a place can keep its facade and still lose the culture created inside it.

Kill said the Committee was right to demand greater ambition, and that the Government’s response “falls short of the practical action needed to secure the future of our built and cultural heritage.”

“For the night time economy, this is about the clubs, grassroots music venues and LGBTQ+ spaces where generations have built communities, launched careers and shaped British culture,” he said. “Protecting that heritage means protecting the cultural activity within these buildings, alongside the buildings themselves.”

He said musical movements, DJ and performance traditions, community histories, creative skills and knowledge passed between generations are “living expressions of our cultural identity”, and that their significance should carry weight when a venue’s future is decided.

“You can preserve a façade and still erase a place’s cultural identity,” Kill said. “If the community is displaced, the music stops and the venue’s cultural purpose disappears, retaining the building alone will not protect that heritage.”

The association wants ministers to set out how cultural and social significance will count for more in planning decisions, how funding will become accessible to independent operators, and how communities can step in before valued spaces are lost. That includes practical support for communities to identify and document intangible heritage, and to keep it alive.

Kill also said bringing vacant historic buildings back into use deserves serious support, including for cultural and night time uses. Where housing is built alongside established venues, he said developments must manage their impact, including sound insulation, so regeneration does not push out existing cultural life.

The warning lands against a sharp contraction in late night provision. The NTIA has previously said a quarter of UK towns have lost all their nightclubs, and that one in six have no late night venues left, figures reported by the BBC as the association described a “national cultural crisis”.

“We need clear commitments, named responsibility and a timetable for delivery,” Kill said. “Every venue lost risks taking an irreplaceable part of our cultural identity with it. Government must act while there is still something to protect.”

18th October 2026 0 comments
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Charlie Sparks
Gigs

Charlie Sparks brings ELEKTRA to ADE for an all-night takeover

written by Sam Warrenger

Charlie Sparks is taking his label and clothing brand ELEKTRA to Amsterdam Dance Event for an all-night takeover of Warehouse Elementenstraat on Wednesday 21 October 2026.

The London DJ, billed as a UK hard techno hero, will go back-to-back across the night with A.N.I., Bassjackers, Dyen, Billy Currie, DXPE and Merimell. ADE lists the official event as MIXMAG X ELEKTRA, running from 23:00 until 06:00 at Elementenstraat 25 in Amsterdam West, and tags it as hard techno and elektro.

Room 2 has its own run of back-to-backs. Sophie Reid plays b2b Manil, Panteros666 b2b Kirk, Afem Syko b2b Biianco, Durdenhauer b2b Kichta, and Area One b2b Niotech.

Sparks has built a sound that fuses acid, industrial, hardgroove and psytrance, with releases on labels including Armada, Universal and Exhale. The announcement describes every track as being approached with architectural precision and emotional weight. He has also become a regular on major techno bills, billed as a hard techno titan for a Charlie Sparks x Parfait set at Terminal V 2025, and later among the names on Galactica’s first Eden season in Ibiza, which also featured Dyen.

ELEKTRA is described as an extension of that identity, a platform spanning music and clothing and built around his own vision for how the sound should look and feel beyond the booth. Bringing it to ADE for a full night of back-to-backs is billed as one of the project’s biggest outings yet, with Sparks handing the night to a run of collaborators expected to throw up plenty of surprises.

Warehouse Elementenstraat started life as a peanut factory in the industrial west of Amsterdam. In 1992 it hosted some of the city’s first large-scale raves, Multigroove, before closing in 1993. It later reopened with the same brief, to present music in its purest form and keep people dancing until sunrise. The venue now hosts concepts including Hyte, Welcome to the Future, Reaktor and Luciano & friends.

Tickets are on sale now via Xceed, with Early Bird, Regular and Group of 4+ options listed. The night is an official ADE festival event, so an ADE Pro Pass can also get you in, though capacity for Pro Pass holders is limited and entry is not guaranteed once the room is full. Most ADE club events are 18+, under Dutch rules.

ELEKTRA x Mixmag Netherlands Sessions takes place on Wednesday 21 October 2026 at Warehouse Elementenstraat, Amsterdam.

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