HEAR’SAY x LIBERTY X

25 YEARS LATER… 

THE STARS OF THE GROUNDBREAKING ‘POPSTARS’ TV TALENT SHOW REUNITE FOR AN UNMISSABLE HUGE ARENA TOUR 
‘POPSTARS: THE ORIGINALS’

HEAR’SAY AND LIBERTY X ARE BACK FOR A
13-DATE ARENA TOUR 
 
PERFORMING TOGETHER FOR THE FIRST TIME EVER IN 2027

TICKETS GO ON GENERAL SALE HERE 
FRIDAY 16^TH OCTOBER
 
WATCH THE OFFICIAL TOUR ADVERT HERE

Twenty-five years ago, Hear’Say and Liberty X burst onto the scene after becoming the winners and runners-up of the groundbreaking ‘Popstars’ TV talent show, helping to usher in a new era of reality TV music stars and paving the way for acts including One Direction, Little Mix, Girls Aloud and JLS. Now, to celebrate the 25th anniversary of their formation Hear’Say and Liberty X announce details of one of the most unmissable tours of 2027 – ‘Popstars: The Originals’ is the only place where fans can see both bands perform together for the first time ever on the same stage. The tour of the UK and Ireland will see both bands reunite to headline some of the biggest and best arenas to perform all their hits, playing to a combined audience of over 150,000 fans. 

 
The Hear’Say reunion features four of their original members: Danny Foster, Kym Marsh, Suzanne Shaw and Noel Sullivan andLiberty X return with their entire original line-up: Michelle Heaton, Jessica Taylor, Tony Lundon, Kevin Simm and Kelli Young.
 
For Hear’Say, their light burned brightly after winning ‘Popstars’. It made them instant household names, achieving #1 success with the pop classic smash hit ‘Pure and Simple’ while also topping the charts with the follow-up, ‘The Way To Your Love’, as well as their debut album, also titled ‘Popstars’, which reached triple-Platinum status in recognition of more than 900,000 domestic sales. They also famously featured on the cover of NME with the headline “The band that killed pop?” As it turned out, they helped to give the genre a whole new lease of life and changed the future of pop music forever.
 
Liberty X became one of the era’s biggest forces in British pop when they became runners up on the same show. Their biggest hit, ‘Just A Little’, shot straight to #1 and climbed charts across the world before claiming a place in the UK’s top ten biggest selling hits of 2002. They landed another seven Top 10 hits including ‘Thinking It Over’, ‘Got To Have Your Love’ and ‘Being Nobody’, while their debut album ‘Thinking It Over’ peaked at #3 and was certified double-Platinum. They reunited for the ITV all-star series ‘The Big Reunion’ in 2013, and are regulars on the festival and Pride circuits with a three-piece line-up featuring Michelle Heaton, Jessica Taylor and Kelli Young.
 
Hear’Say comment, “Coming back together after 25 years is something that’s incredibly special to all of us. It’s a chance to celebrate an unforgettable chapter in our lives, reconnect with each other and relive so many amazing memories. To be sharing the stage with Liberty X makes this celebration even more special, and it feels like the perfect way to mark such an incredible milestone.
 
We are so excited to be celebrating with everyone and honestly can’t wait to reconnect with the Hear’say fans. To relive those amazing memories together and create some new ones along the way is going to be very special. We are counting down the days and can’t wait to see you there.”
 
Liberty X add, “It’s hard to believe it’s been 25 years since Popstars changed all of our lives.  We are thrilled to be heading out on tour with Hear’Say to celebrate where it all began.  It feels like the perfect way to mark such an incredible milestone, bringing the music, the memories and all the energy back to the stage.
 
Most of all, we can’t wait to celebrate with all of you. Whether you’ve been with us since day one or you’re discovering these songs all over again, we can’t wait to sing, dance and make some brand new memories together.  See you on tour!”
 
‘Popstars: The Originals’ tour will kick off in Dublin at 3arena on 17^th April 2027 and will include Belfast, Bournemouth, Nottingham, Brighton, Cardiff, Birmingham, Leeds, Newcastle, Glasgow, London, Manchester and will wrap up in Liverpool, M&S Bank Arena on the 9^th May 2027. Fans who register HERE will receive access to a ticket pre-sale that opens at 9.00AM BST on Wednesday, October 14th. Remaining tickets will then go on general sale HERE from 9.00AM BST on Friday, October 16th.
 
‘Popstars: The Originals’ tour dates are:
 
APRIL 2027
17th – Dublin, 3arena
18th – Belfast, SSE Arena
20th – Bournemouth, BIC
21st – Nottingham, Motorpoint Arena
25th  – Brighton, Centre
28th – Cardiff, Utilita Arena
 
MAY 2027
1st – Birmingham, BP Pulse Arena
2nd – Leeds, First Direct Arena
4th – Newcastle, Utilita Arena
5th – Glasgow, Hydro Arena
7th – London, The O2
8th – Manchester, AO Arena
9th – Liverpool, M&S Bank Arena

Follow Hear’say:
Spotify | Apple Music | YouTube
 
Follow Liberty X:
Spotify | Apple Music | Instagram

The post 25 YEARS LATER…HEAR’SAY & LIBERTY X REUNITE FOR AN UNMISSABLE HUGE ARENA TOUR ‘POPSTARS: THE ORIGINALS’ appeared first on PCN Magazine - Patchchord News. written by Martin Bone - Editor-In Chief

As a musician, Duchovny has released four studio albums: Hell or Highwater (2015), Every Third Thought (2018), Gestureland (2021) and Prince of Pieces (2026), which also gives this tour its name. His music is generally described as alternative rock and folk-rock, so I was intrigued to hear how it would translate live.

Quite a few years ago, I saw Gillian Anderson doing a book reading at Glastonbury, which reignited my love of The X-Files. So, when I heard that David Duchovny had a band and was heading out on tour, I had to go along and see what he was like on stage as a musician rather than as the FBI’s Fox Mulder.I first discovered The X-Files back in 1993 and was immediately hooked. It’s a series I’ve returned to many times over the years.

There was another nice connection too. Duchovny has Scottish roots, with his mother coming from Aberdeenshire, making Scotland a fitting first stop on the tour.

The Art School proved an interesting setting for the night. Part of the Glasgow School of Art, it’s an active art school as well as a live music venue. The rectangular, medium-sized room has a capacity of around 550 people, making it intimate enough to get reasonably close to the stage.

After the opening song, Duchovny addressed the Glasgow crowd.

“It’s ten years, I believe, since we were last here,” he said.

The second song, Every Third Thought, came with a literary connection. Duchovny jokingly introduced its inspiration as coming from an “up-and-coming writer”. The title actually draws from William Shakespeare’s The Tempest and Prospero’s line, “Every third thought shall be my grave,” reflecting on mortality.

Afterwards, Duchovny spoke about his own connection to Scotland.

“My mum is from Scotland, a place called Whitehills in Aberdeenshire,” he told the audience, before adding: “You probably don’t know where that is.”

Before performing Catherine Wheel, Duchovny offered another amusing introduction. He explained that he had believed a Catherine Wheel was something you tied people to, spun them around on and tortured them — before discovering what the historical Catherine wheel actually was.

At one point, someone in the crowd shouted, “Are ya happy to be back in Scotland?”

“Hell yeah!” came Duchovny’s reply.

His stage presence was good throughout. He moved around the stage and interacted now and then with those at the front. Looking around the venue, the audience seemed to be an interesting crossover between longtime X-Files followers and fans of Duchovny’s music.

Not all of the crowd interaction was quite so welcome. One heckler had been becoming increasingly annoying and was eventually thrown out of the venue. His departure was greeted by a massive roar from the rest of the crowd!

Godzilla was probably the most upbeat song of the evening and got people in the crowd dancing along.

Next up was Impossibly Tonight, with Duchovny revealing that this would be the first time they had played it “in front of humans”. “Good luck,” he told his band, tongue firmly in cheek.

Half Life was another strong moment and really had the crowd clapping along.

Then came an announcement almost guaranteed to provoke a reaction from a Glasgow audience.

“This song is called London.”

Boos immediately rang around the room.

Duchovny quickly read the situation.

“OK, tonight we say Glasgow!”

And for the first couple of lines, that’s exactly what he did, replacing London with Glasgow to the approval of the crowd.

After leaving the stage for a short while, Duchovny and the band returned for the encore and performed a rendition of Lou Reed’s Perfect Day.

Then came Hell or Highwater, which produced the biggest singalong of the evening and was one of the highlights of the night.

Final Thoughts

Overall, it was a very good night. I’d originally gone along partly through my love of The X-Files and curiosity about what David Duchovny would be like as a musician, but I came away genuinely impressed by the music.

Duchovny seemed relaxed on stage, with plenty of humour and interaction with the Glasgow crowd, while the band sounded great throughout. There was a nice mixture of quieter moments and more upbeat songs, particularly Godzilla, while Hell or Highwater and its huge singalong made for a great way to round off the evening.

Yes, there were plenty of X-Files fans in the room — myself included — but by the end of the night it felt much more like we’d come to see David Duchovny the musician rather than Fox Mulder.

And after waiting all these years to see him perform live, I’m very glad I went.

All words and photos by Dod Morrison 

Follow David Duchovny online:

FACEBOOK / INSTAGRAM / WEBSITE

The UK & European Tour continues throughout October, see Website for Tickets

The post David Duchovny gets “Arty” in Glasgow appeared first on PCN Magazine - Patchchord News. written by Dod Morrison

RADIO 2 IN THE PARK — SUNDAY IN STIRLING

A Scottish homecoming, a flying dinghy and one unforgettable night with Simple Minds

There was something different about Sunday at BBC Radio 2 in the Park.

After two days of music, crowds and changing Scottish weather, the final day at Stirling’s City Park felt almost like a homecoming. The festival had already proved that Radio 2 could bring generations together, but Sunday belonged particularly to Scotland.

With Stirling Castle looking down across the festival site and the surrounding landscape stretching into the distance, the final day began with a distinctly Scottish soundtrack.

And it began with Deacon Blue.

Deacon Blue set the tone

For a band so closely associated with Scotland, Deacon Blue were a fitting way to begin the musical journey towards the festival’s final night.

The crowd responded immediately.

There was a familiarity to the performance — songs that have been part of Scottish life for decades being sung back by thousands of voices. It was less about introducing an audience to something new and more about reminding everyone just how deeply these songs have become embedded in the country’s musical history.

It was the perfect way to start the final day.

The atmosphere around the site was already relaxed. Festival-goers wandered between the stages, food stalls and bars, meeting friends and finding their positions for the afternoon ahead.

After the excitement of Saturday, Sunday had a slightly different pace.

But that wouldn’t last long.

Appleton brought the pop factor

Appleton brought another generation of memories to the main stage.

There was an unmistakable sense throughout the weekend that Radio 2 had deliberately constructed a line-up around songs people knew — songs that could be recognised within seconds and immediately transport listeners back to another time.

That continued with Appleton.

The audience wasn’t simply watching.

It was remembering.

And that became one of the defining characteristics of Sunday’s performances.

Cast brought the guitars

When Cast arrived, the sound shifted again.

The guitars came forward, and the atmosphere moved towards something more energetic.

There was a familiar festival feeling developing across City Park — people singing along, dancing where there was room and gradually moving closer towards the main stage as the afternoon progressed.

The audience was becoming increasingly aware that there was still a lot to come.

Blue celebrate 25 years

Blue brought another sizeable dose of nostalgia to Stirling.

Their appearance came during a significant year for the group as they celebrated their 25th anniversary, and their Radio 2 in the Park performance allowed fans to hear the songs that had helped define their career in front of a huge live audience.

The crowd knew the material.

There were plenty of people singing every word.

And for a festival built around shared musical memories, that connection was exactly what Radio 2 had promised.

James Blunt — and the arrival of the dinghy

Then came James Blunt.

And, as anyone familiar with James Blunt’s appearances at Radio 2 in the Park might have suspected, things were about to become considerably less conventional.

Blunt had already joked before the festival about his previous “dinghy disasters” and attempts at crowd-surfing. 

On Sunday, the joke became reality once again.

A large inflatable dinghy appeared, and Blunt took to the crowd in a moment that was part concert, part comedy and completely James Blunt.

For the photographers in the pit, it was the kind of moment that suddenly transforms an otherwise conventional performance into something memorable.

For the audience, it was even better.

A man who had spent much of his career writing emotional songs was suddenly floating above the crowd in an inflatable boat.

There was laughter.

There was shouting.

There were phones in the air.

And there was a very large number of people wondering exactly how the situation had developed to this point.

It was one of the weekend’s great visual moments.

Level 42 kept the rhythm moving

With the afternoon progressing, Level 42 brought their distinctive combination of pop, funk and musicianship to the main stage.

Their appearance provided another change of musical direction without ever breaking the overall flow of the day.

That was perhaps the cleverest aspect of the Radio 2 format.

One performance could appeal to a particular generation, followed by another artist whose audience crossed into an entirely different age group.

Yet the crowd remained.

Because the songs mattered.

The presenters become part of the festival

Away from the main stage, Radio 2’s presenters had become stars in their own right.

Sunday’s DJ stage featured Jeremy Vine, Shaun Keaveny, Jo Whiley, Gary Davies, Romesh Ranganathan, OJ Borg and Vernon Kay, giving the festival another layer beyond the headline performances. 

They weren’t simply introducing artists.

They were helping create the atmosphere.

There was humour, interaction with the crowd and the unmistakable feeling that the Radio 2 audience was spending a weekend with familiar voices they normally hear through their radios.

Romesh Ranganathan brought his particular brand of humour.

Jo Whiley brought her knowledge and enthusiasm for music.

Gary Davies tapped directly into the nostalgia of the 1980s.

OJ Borg and Shaun Keaveny continued the musical journey, while Vernon Kay added his considerable energy to the final day.

And there was something rather fitting about seeing radio personalities who normally exist behind microphones suddenly standing in front of thousands of people.

The festival had effectively taken Radio 2 out of the studio and put it directly into the park.

Then came Simple Minds

As daylight began to fade, there was a growing sense that the weekend was approaching its final chapter.

And this wasn’t just any closing act.

This was Simple Minds.

For the band, playing in Stirling carried a significance that went beyond another festival appearance.

They had formed in Glasgow in 1977 and were approaching five decades as a band. Their appearance at City Park was also their only UK performance of 2026, making the occasion even more significant. 

Then Jim Kerr walked onto the stage.

The opening moments belonged to the music.

But as the set developed, something happened that elevated the performance beyond simply being the closing headline act.

Jim Kerr came down from the stage and into the pit.

Suddenly the barrier between performer and audience disappeared.

Kerr wasn’t standing several metres above the crowd looking down.

He was there among them.

Engaging.

Looking directly at people.

Singing towards them.

Taking in the reaction.

For the photographers positioned in the pit, it was an extraordinary moment — the kind of spontaneous interaction that cannot be manufactured and that exists for only a few seconds before disappearing forever.

But for the people at the barrier, it was something else entirely.

They were suddenly standing face-to-face with the frontman of one of Scotland’s most important bands.

Nearly 50 years later

Kerr also reflected on the extraordinary passage of time and the band’s connection with Stirling.

Almost 50 years after Simple Minds first began their journey, here they were performing in Stirling in front of another generation of Scottish music fans.

That sense of history was impossible to ignore.

The songs had travelled through decades.

Some people in the audience would have discovered Simple Minds when they were first becoming established.

Others would have been introduced to them by their parents.

And many younger fans were now experiencing the band live for themselves.

That is the remarkable thing about music with genuine longevity.

The audience changes.

The songs remain.

And as the evening developed, the distinction between past and present seemed to disappear.

The perfect ending

Simple Minds were never going to be an understated way to finish the first Scottish Radio 2 in the Park.

The band’s catalogue is simply too large.

From the atmosphere of “Promised You a Miracle” through to the enormous singalong moments associated with their biggest songs, the performance became less like the final set of a festival and more like a celebration of Scottish musical history.

And when Jim Kerr stepped into the pit, the significance of the moment became even clearer.

This wasn’t simply a band closing a festival.

It was a Scottish band returning to its own country, performing in front of thousands of people in a city surrounded by history, nearly five decades after its story began.

The audience responded accordingly.

Three days, thousands of memories

As the final notes rang out across City Park, the first Scottish edition of BBC Radio 2 in the Park came to an end.

Three days had brought together generations of music fans.

There had been sunshine and cloud, food and drink, dancing, laughter, nostalgia and plenty of unexpected moments.

There had been Chaka Khan.

There had been Texas.

There had been The Script, Emeli Sandé, ABC, Lulu, Jack Savoretti, Blue, Cast, Level 42 and Deacon Blue.

There had been Radio 2’s presenters turning the festival into something that felt as much like a giant live radio broadcast as a music festival.

And there had been James Blunt, sailing through the crowd in an inflatable dinghy.

But ultimately, the lasting image of Sunday belonged to Jim Kerr.

A Scottish music legend, nearly five decades into the journey, stepping away from the stage and into the crowd.

For a festival making its Scottish debut, it was an almost perfect final chapter.

Radio 2 came to Stirling.

Scotland answered.

And by the time Simple Minds had finished, City Park had witnessed three days of music that had done exactly what the BBC had promised — brought generations together through songs that still mean something.

The first Radio 2 in the Park in Scotland had ended.

But judging by the reaction in Stirling, it certainly won’t be forgotten.

The post WHEN RADIO 2 CAME HOME: A SUNDAY OF MUSIC, MEMORIES AND SIMPLE MINDS appeared first on PCN Magazine - Patchchord News. written by Martin Bone - Editor-In Chief

BBC Radio 2 in the Park – Day Two Review – Martin Bone

Photography Martin Bone

City Park, Stirling — Saturday 12 September 2026

There was something unmistakably Scottish about the second day of BBC Radio 2 in the Park in Stirling.

By Saturday morning, City Park had already begun to feel less like a temporary festival site and more like the centre of a very large musical gathering. Thousands of people made their way towards the park, many already dressed for the unpredictable Scottish weather, while the sound of music, conversation and laughter gradually filled the space beneath Stirling Castle.

The festival’s first visit to Scotland had already made an impression, but Saturday was where the event really found its rhythm.

The weather played its part too. It was one of those classic September days where the sky could never quite make up its mind. Clouds moved across the blue above the festival site, with periods of brightness breaking through and giving the crowd some welcome sunshine. Temperatures remained fairly cool, but the lack of persistent rain made a huge difference. By the afternoon, jackets were being opened, sunglasses were out, and the atmosphere grew more relaxed.

Festival-goers also had plenty to do between performances.

Food and drink were very much part of the experience, with the familiar festival mixture of people queuing for something to eat, drinks being carried back towards friends and groups settling into their chosen positions with a view of the stage. The bars also brought a distinctly local touch to the event, with Stirling Gin and Castle Rock whisky among the local spirits being served at the festival’s craft bar.

But, ultimately, Saturday belonged to the music.

The day’s line-up was an unusually broad celebration of British pop, soul, rock and classic chart music, with Texas, Lulu, Jack Savoretti, ABC, Emeli Sandé, The Script and Chaka Khan taking the audience through several decades of popular music.

A day built for singing along

One of the strengths of Radio 2 in the Park is that it doesn’t demand a particular musical identity from its audience.

There was no need to be a dedicated fan of one genre. The crowd could move from sophisticated soul to guitar-driven pop, from classic 1980s material to contemporary anthems, without ever feeling that the festival had lost its identity.

Texas brought an especially appropriate Scottish connection to the day, while Lulu offered one of those performances that demonstrated exactly why the Radio 2 audience embraces artists whose careers stretch across generations.

Jack Savoretti provided a different flavour, bringing his polished singer-songwriter style to the festival, while ABC transported the audience straight back into the sophisticated pop of the 1980s.

Then came Emeli Sandé, whose voice gave the afternoon a more soulful and powerful dimension.

The crowd responded throughout. There was a sense that many people had arrived not simply to watch artists perform, but to relive parts of their own lives through the music.

That is perhaps one of Radio 2’s greatest strengths.

A song can begin and suddenly hundreds — sometimes thousands — of people are singing the same words together.

The Script turn up the volume

As the afternoon moved towards evening, The Script brought a noticeably bigger rock presence to the main stage.

Their performance gave the festival another lift, with the audience responding to the band’s familiar catalogue and the large-scale sound carrying across City Park.

By this point, the crowd was becoming increasingly animated. What had started as a relaxed Saturday afternoon had transformed into a full festival atmosphere, with people dancing, singing, waving and making the most of the remaining daylight.

The backdrop helped too.

Stirling Castle and the surrounding landscape gave the festival a setting that felt very different from many of the large-scale events that normally dominate the UK festival calendar. The BBC had brought a national event to Scotland, but the location gave it a distinctly local character. Stirling City Park itself has a long historical connection with the city and the Royal Park, adding an unusual sense of place to the modern festival environment.

Then came the Queen of Funk

By the time Chaka Khan took to the stage, Saturday had reached its destination.

The anticipation had been building throughout the afternoon and evening, and the appearance of an artist with such an extraordinary musical history gave the festival its big international moment.

Khan’s career has stretched across funk, soul, R&B and pop for decades, and the performance brought together different generations within the audience.

There were people who had grown up with her music and younger festival-goers discovering it in a completely different setting.

The result was a celebration rather than simply a headline performance.

The crowd knew the songs.

They sang them.

They danced to them.

And as the evening progressed, City Park became a huge outdoor celebration of music that has remained relevant across generations.

More than just a concert

What made Saturday successful was that it never felt entirely like a conventional concert.

It was a day out.

Families, groups of friends, couples and long-time music fans shared the same space. Some watched every performance from close to the stage, while others were equally happy sitting back with food and drinks and taking in the atmosphere.

The festival bars became meeting points. Food queues became opportunities to chat. Between acts, conversations continued about favourite performances and which artist had been the highlight of the day.

The crowd itself became part of the show.

From the front barrier to the people further back across the park, there was a remarkably positive atmosphere.

Even the occasional cool breeze couldn’t dampen it.

A Saturday to remember

Radio 2 in the Park’s first Scottish weekend was always going to attract attention, but Saturday demonstrated why the format works so well.

It brought together nostalgia and contemporary performance, local identity and international music, sunshine and Scottish weather, all within one large gathering beneath Stirling Castle.

The second day didn’t rely solely on one headline act.

Instead, it built gradually.

Texas set the Scottish tone. Lulu brought decades of experience. Jack Savoretti added his distinctive style. ABC delivered a dose of 1980s nostalgia. Emeli Sandé brought soul and power. The Script raised the energy further.

And then Chaka Khan arrived to close the musical journey with the kind of performance that gave the day its defining moment.

As the crowds eventually began making their way away from City Park, Saturday had delivered exactly what a Radio 2 festival should deliver — music that crosses generations, familiar songs that become shared memories, and an atmosphere where the audience feels as important as the artists on stage.

For one September Saturday in Stirling, City Park became a place where generations came together to sing, dance, eat, drink and celebrate music.

And with one more day still to come, the first Scottish edition of BBC Radio 2 in the Park was already looking like an event that would be remembered long after the stages had been dismantled.

More images to follow in a new post later stay tuned

https://www.bbc.co.uk/backstage/radio2inthepark

#bbc #bbcradio2 #bbcradio2partyattheparkstirling #stirlng

The post RADIO 2 IN THE PARK: SATURDAY IN STIRLING — MUSIC, MEMORIES AND A QUEEN OF FUNK appeared first on PCN Magazine - Patchchord News. written by Martin Bone - Editor-In Chief

The Prodigy’s explosive headline set brought the Edinburgh Summer Sessions to a spectacular close.. 

The Royal Highland Showgrounds was transformed into a multi-stage music festival. After performances from Carl Cox, David Rodigan, Yousuke Yukimatsu and Scarlxrd, the crowd was well and truly warmed up. The highly anticipated show was attended by fans from as far as Slovakia, who made sure to make their presence and admiration for the band known with large custom Prodigy flags flying throughout the grounds.

The crowd was electric and overwhelmingly communal, a mixture of generational ravers, rock fans and curious newcomers all finding common ground in the noise. For a band whose music has always blurred the boundaries between rave, punk and rock, it was a fitting sight.

Lasers, strobes and visuals made up the spectacular production which some fans said resembled a giant rave bunker. It’s safe to say the crowd was high energy from the get-go. You don’t just listen to The Prodigy, you feel them. The bass could be felt throughout the grounds, and frontman Maxim continued to raise the energy by commanding the crowd and stalking the stage, all whilst managing to keep any chaos under control. 

The combination of electronic sound, live instrumentation, and the presence of Maxim made the performance feel like it did back in the 90’s. From beginning to end, the hits just kept coming; opening with “Omen” the tone of the night was set, followed by “Voodoo People” and “Poison”.  “Firestarter” detonated, and “Invaders Must Die” kept the momentum at an almost ridiculous level. The combination of Liam Howlett’s relentless electronic assault and Maxim’s physical intensity made standing still virtually impossible for both nostalgic ravers and new, younger Prodigy fans. 

The end was approaching, but not before the encore that included “Breathe”, “Warrior’s Dance“, and “Comanche”. As the final notes faded into the Edinburgh night, exhausted, sweaty and buzzing, thousands of fans made their way home. The night would be remembered as more than a gig; it was an electric night full of heavy sound, energy and attitude.

After three decades, headlining and commanding thousands of fans is no small achievement; it is truly something special. The Prodigy’s farewell to Edinburgh Summer Sessions was nothing short of spectacular; they couldn’t have gone out with a bigger bang.

The post The Prodigy – Masters of Mayhem Closing Out Edinburgh Summer Sessions Season ’26 appeared first on PCN Magazine - Patchchord News. written by Rachel Cuthbert

Primus Suck, Primus Sucks! Is the chant from Glasgow’s Barrowland Ballroom patrons this evening as we’re all gathered to hear the Funk-Punk-Rock band perform!

Let’s take it back a bit first.

Primus are one of the most singular and idiosyncratic bands to emerge from the American alternative rock landscape. Across more than four decades, the band have built a reputation on eccentric musicianship, off-kilter rhythms, surreal storytelling and a sound that has always refused to sit comfortably inside any one genre.

Formed in El Sobrante, California, in 1984 by bassist and vocalist Les Claypool and guitarist Todd Huth, the band initially operated under the name Primate before becoming Primus. The early years were characterised by experimentation, a revolving door of drummers and an old-school punk DIY mentality that helped shape the band’s unconventional identity.

By the end of the 1980s, the classic Primus sound was beginning to take shape. Claypool’s extraordinary bass playing, Larry “Ler” LaLonde’s distinctive guitar work and the band’s ever-changing rhythmic foundations created something that sounded like very little else around them.

The release of Suck on This in 1989 and Frizzle Fry in 1990 began to establish Primus as a serious force within the alternative music scene. Then came Sailing the Seas of Cheese in 1991, taking the band to a much wider audience with tracks such as “Jerry Was a Race Car Driver”.

Suddenly, Primus were everywhere.

Their bizarre videos became familiar sights on MTV and music television, while their music found an audience well beyond the underground scene from which they had emerged. Their connection with South Park and the unforgettable Primus theme further cemented their place in popular culture, introducing the band to an entirely new generation of listeners.

The 1990s saw Primus continue to push the boundaries with albums including Pork Soda and Tales from the Punchbowl, producing songs such as “My Name Is Mud” and “Wynona’s Big Brown Beaver”. Their combination of technical brilliance, surreal humour and Claypool’s unmistakable bass style earned them a fiercely loyal cult following and enormous respect from musicians across the rock and metal world.

And now, more than four decades after their formation, Primus continue to do what they have always done best — make music entirely on their own terms.

Welcome to the Barras

On this particular night, the Barrowland Ballroom was packed to capacity, with the Glasgow crowd arriving ready to immerse themselves in the wonderfully strange world of Primus.

Fancy dress could be spotted throughout the venue, adding to the sense that this was going to be far from an ordinary night at the Barras. There was a genuine buzz throughout the room as fans waited for Les Claypool and the band to take the stage.

Then came the moment everyone had been waiting for.

As Primus appeared, the reaction from the crowd was immediate.

The opening notes were met with a roar, before the unmistakable sound of Claypool’s bass began to roll across the Barrowland floor. Within moments, the venue had transformed into a sea of bouncing heads, raised arms and huge smiles.

Primus have never been a conventional rock band, and there is something wonderfully unique about watching them live. The music is heavy without simply being metal, funky without becoming funk, progressive without disappearing into self-indulgence and, above all, unmistakably Primus.

Claypool remains the focal point, wielding the bass almost like another voice within the band. His playing is technically extraordinary, but it never feels like technique for technique’s sake. Every slap, pop and rumbling bassline becomes part of the band’s bizarre musical language.

Alongside him, the guitar work provides the perfect counterpoint, while the drums drive everything forward with precision and power.

The first three songs provided a fascinating snapshot of exactly why Primus have maintained such a devoted following for so long. The band sounded tight, confident and completely at home on the Barrowland stage, while the audience knew every twist, turn and eccentric musical flourish.

There was also a distinctly Glasgow flavour to proceedings, with Claypool embracing the local audience and even delivering a playful rendition of “Hurdy Gurdy Gurdy Hurdy Gurdy Hurdy Woo!” — a moment that was met with the kind of response only the Barrowlands can produce.

Looking across the room, it was clear that this was a crowd who had waited a long time to experience the Primus sound in this setting. From the die-hard fans to those discovering the band for the first time, everyone appeared to be enjoying the ride.

And that is perhaps the greatest thing about Primus.

After more than forty years, they still sound like nobody else.

They remain strange, unpredictable, technically astonishing and completely comfortable being exactly who they are.

For a band whose career has been built on doing things differently, the Barrowland Ballroom proved to be a fitting home for their particular brand of musical madness.

Primus don’t simply perform songs.

They create their own musical universe — and judging by the reaction inside the Barras, Glasgow was more than happy to spend the evening in it.

Do Primus suck?

Absolutely not.

Primus most definitely do not suck.

The post The Genius of Primus Visit the Legendary Venue in Glasgow appeared first on PCN Magazine - Patchchord News. written by Stevie Oi!

ANNOUNCE HEADLINE UK TOUR

NEW ALBUM ‘DEAD COMPANY’ – OUT 13.11.26

NEW SINGLE ‘TEN OVER TEN’ – OUT NOW – LISTEN/WATCH

Following the announcement of their long-awaited fifth studio album ‘Dead Company’, Royal Blood have today announced their headline UK tour starting this November. Pre-order ‘Dead Company’ on the UK Official Store by 15:00 on Tuesday 18th August to receive a pre-sale access code. Fan pre-sale tickets go on sale Wednesday 19^th August at 09:30, with general sale starting Friday 21st August at 09:30. Click here for general on-sale ticket info.

‘Dead Company’ marks a powerful new chapter for the duo, who last released an album in 2023. Following a period away from the spotlight, Mike Kerr and Ben Thatcher entered the studio in 2025 with no deadline, no distractions and a simple ambition: to see what was possible with two people, 12 notes and infinite outcomes. 

Self-produced by Royal Blood, they set out to make an album as raw, human and visceral as possible.  ‘Dead Company’ strips everything back to its core.  Immediate and uncompromising, it captures Royal Blood at their most powerful.  

The band adds “After putting the Royal Blood engine in neutral for a couple of years, we’ve been building up the revs and are playing faster and harder than ever with this album. Written and recorded with the stage in mind, we cannot wait to play it live for years to come.”

The first track to be revealed, ‘Ten Over Ten’, is a menacing desert rock meets Motörhead behemoth of a single.

The lyrics and vibe were inspired by the frontman training for a marathon, and it became all about endurance and pushing yourself.

Since they first emerged 12 years ago when they released one of the fastest-selling rock debuts of the century, Royal Blood have made one hell of an impact: each of their four albums has hit Number One in the UK, shifting over 1 million records, becoming an arena-filling, festival-headlining tour de force, and forerunners of the guitar rock revival we’re seeing today. 

Ultimately ‘Dead Company’ is a bold 10-track album. This is what they were born to do, so they might as well turn it up. And with that Royal Blood return louder, sharper and more vital than ever.

UK TOUR DATE

24 November – The Prospect Building – Bristol 

25 November – O2 City Hall – Newcastle 

27 November – O2 Apollo – Manchester 

28 November – Barrowland – Glasgow 

02 December – Civic Hall – Wolverhampton 

03 December – Olympia The Grand Hall – London 

04 December – Brighton Centre – Brighton 

Instagram | TikTok | YouTube

The post Royal Blood – Announce Headline UK Tour – November/December 2026 appeared first on PCN Magazine - Patchchord News. written by Martin Bone - Editor-In Chief

WINDOWS SINGLE // OUT TODAY

DMA’S LP // 21 AUGUST 2026 // PRE-ORDER NOW

UK OUTSTORES // AUGUST 2026

UK & IRELAND TOUR // FEBRUARY 2027

As Australian indie-rock heavyweights DMA’S gear up to release their self-titled album on 21 August, the band have surprised fans with the release of another track from the record. Built around delicate instrumentation, Windows strips everything back to reveal one of the band’s most vulnerable and affecting performances.

The album, released via Wonderlick Recording Company / Sony Music Australia / RCA UK, will also feature the previously released tracks ‘My Baby’s Place’, ‘Heatin Park’, ‘Hurracane’ and ‘Killing Time’, which recently reached #1 Most Played on triple j and is being supported on commercial radio networks throughout their homeland.

DMA’S will be available in several variants including streaming, digital download, cassette, CD and vinyl, including a signed, clear splatter special edition. A new range of merchandise is also available now at https://shop.dmasdmas.com/collections/dmas-merch. In addition, the band have just launched their collaboration with Sydney FC, which was teased recently at the Sydney FC v Tottenham Hotspur game.

SYDNEY FC PLAYERS L-R: Harrison Devenish-Meares; Rhyan Grant; Jordan Courtney-Perkins

Written and recorded between their own studio in Glebe, Sydney and in Los Angeles, the self-titled album represents a defining moment for the band, showcasing the evolution of their signature anthemic sound with fresh sonic textures. It’s highlighted by the band co-producing most of the record with Grammy nominated producer Lach Bostock with help from Jimi Somewhere and Styalz Fuego.

Renowned for their electrifying live performances which have seen them command some of the world’s biggest stages, including Glastonbury, Coachella, Lollapalooza and Splendour in the Grass, DMA’S will perform a series of intimate acoustic outstore shows across the UK this month, ahead of their UK and Ireland headline tour in early 2027. Full dates as follows:

AUGUST 2026

Mon 24 KINGSTON Circuit (with Banquet)
Tue 25 MANCHESTER The Yard (with Crash & Piccadilly)
Wed 26 MIDDLESBROUGH Empire (with Jacaranda)
Thu 27 DUNDEE Fat Sams (with Assai)
Sat 29 LEEDS Wardrobe (with Crash) SOLD OUT
Sun 30 NORWICH Waterfront (with HMV)
Mon 31 BRISTOL Rough Trade (Matinee) SOLD OUT
Mon 31 BRISTOL Rough Trade (Evening) SOLD OUT

FEBRUARY 2027

Mon 01 SOUTHAMPTON O2 Guildhall
Tue 02 CARDIFF University Great Hall
Wed 03 COVENTRY HMV Empire
Fri 05 MANCHESTER Academy
Sat 06 MANCHESTER Academy
Mon 08 NEWCASTLE O2 City Hall
Tue 09 LINCOLN Engine Shed
Thu 11 YORK Barbican
Fri 12 LONDON Eventim Apollo
Sun 14 LIVERPOOL Olympia
Mon 15 SHEFFIELD Octagon Centre
Wed 17 EDINBURGH Usher Hall
Thu 18 GLASGOW Barrowland Ballroom
Fri 19 BELFAST Limelight
Sat 20 DUBLIN Academy

TICKETS: https://dmasdmas.com/tour/

DMA’S ALBUM ARTWORK

The new album will see the band further build on their incredible history that has seen them deliver four critically acclaimed albums – Hills End in 2016; For Now in 2018; THE GLOW in 2020 and How Many Dreams in 2023 – each landing towards the top end of the ARIA chart in their homeland, with the last two albums, THE GLOW and How Many Dreams, reaching #4 and #3 respectively in the UK album chart.

DMA’S have accrued over 500 million streams across their catalogue, four multi-platinum singles, multiple ARIA Award nominations – including a win for Best Group in 2023 – and 13 songs in triple j’s coveted Hottest 100, highlighted by their Like A Version cover of Cher’s Believe, which topped the Hottest 100 Like A Version of All Time in 2023.

DMA’S are Johnny Took, Matt Mason and Tommy O’Dell.

Website | Facebook | Twitter | Instagram | TikTok

The post DMA’S // Windows Single – Out Now // DMA’S LP – 21 August // UK & Ireland Dates appeared first on PCN Magazine - Patchchord News. written by Martin Bone - Editor-In Chief

LAUNCH THE INNOVATIVE ‘THE USER’S GUIDE TO BEING HUMAN’MICRODRAMA SERIES – BECOMING ONE OF THE FIRST MAJOR BANDS TO DO SO
 
A NEW EPISODE WILL LAUNCH ON YOUTUBE EACH DAY KICKING OFF THIS SUNDAY – AUGUST 9TH
THE FULL FILM IS OUT AUGUST 13TH
WATCH THE TRAILER HERE

 
A COMPANION TO THE NEW ALBUM OF THE SAME NAME, OUT AUGUST 14TH  – PRE-ORDER HERE

The Script are in the business of drama! The band have embraced the rapidly growing microdrama format to put their eagerly anticipated new album ‘The User’s Guide To Being Human’ in the spotlight. The pioneering initiative will see them become one of the first bands to bring the world of drama and music together in a way that neatly complements social media.
 
Originating in China, the bite-sized microdrama is now becoming an international phenomenon, generating billions in global revenue. The format is now beating Netflix, Disney+ and Prime Video in per-user, daily mobile viewing time.
 
Directed by Charles Mehling, ‘The User’s Guide To Being Human’ microdrama follows an Irish pub owner who is facing up to having to sack staff to stay in business. At the same time, a biblical storm is approaching, trapping his tight-knit community inside: all of which have their personal stories to tell.  Their lives, heartaches and connections play out, soundtracked by the new album. It mirrors the record’s powerful central theme of swapping real human connection for swiping screens.

 
The first episode will launch on YouTube on Sunday, August 9th, with subsequent instalments following each day through to Wednesday, August 12th. The four episodes will then be compiled into one short film which will be unveiled on Thursday, August 13^th. Watch the trailer HERE.

 
Danny O’Donoghue says, “We’re very excited to be entering this space as The Script have always been a very visual band. Our songs are mini movies, so putting them to screen just seemed obvious. We see it as the way forward — combining music with visuals in a drama format that sits perfectly on social media. It’s the fastest growing sector in entertainment and we’re delighted to be part of it.”
 
‘The User’s Guide To Being Human’ album is available to pre-order / pre-save HERE. It is available on CD and limited transparent vinyl while the band’s official artist store also stocks exclusive merch bundles and a cassette.

The post THE SCRIPT LAUNCH THE INNOVATIVE ‘THE USER’S GUIDE TO BEING HUMAN’ MICRODRAMA SERIES – BECOMING ONE OF THE FIRST MAJOR BANDS TO DO SO appeared first on PCN Magazine - Patchchord News. written by Martin Bone - Editor-In Chief

MADONNA & KYLIE
‘LOVE SENSATION (AFTERHOURS MIX)’
OUT NOW

Madonna and Kylie have finally come together for what can only be described as the collaboration the world has been waiting for —and a dance fantasy come to life. After bringing fans Madonna’s Club Confessions (presented by MISTR) to WorldPride in Amsterdam this past weekend, the long-rumored collaboration was at last confirmed. Kylie joined Madonna on stage for a surprise performance, debuting ’Love Sensation (Afterhours Mix) – Madonna & Kylie’ before a packed crowd at the festival’s most sought-after event. Produced by Stuart Price, the highly anticipated is out now via Warner Records. 

LISTEN HERE.

The collaboration arrives on the heels of ‘Love Sensation’ hitting No.1 at Dance Radio on Friday, further fueling the momentum behind Madonna’s Confessions II, one of the most celebrated and critically acclaimed albums of the year. This follows ‘I Feel So Free,’ the first taste of new music from the album- previously reaching No.1 on the same chart. 

With No.1 dance hits spanning five consecutive decades and more Dance chart-toppers than any other artist in history, Madonna continues to not only dominate but redefine and shape the global dance culture she helped to create. 

FOLLOW MADONNA:
TikTok | Instagram | X | Facebook | YouTube

The post Madonna & Kylie teamup for ‘Love Sensation (Afterhours Mix)’ appeared first on PCN Magazine - Patchchord News. written by Martin Bone - Editor-In Chief