Four years after the 130 shows across the northern hemisphere with the Leather Patrol Tour, Carpenter Brut will hit the road again in 2022 with the second part of his second trilogy: the Leather Terror Tour. 

The story, entirely written and composed by Carpenter Brut, takes a new turn. Bret Halford becomes a blood-thirsty serial killer. Taking advantage of his tours with his band, Leather Patrol, he hunts down all of those who bullied him during his teenage years, he seeks revenge. Here is what lies at the core of the writing for this second opus entitled Leather Terror. 

With killer riffs and metallic drums, Carpenter Brut clearly states his love for the 1980’s trash metal while the singing takes a more important part in the compositions. This new show will be as powerful as it will be catchy, the combination of both leading to a music more electrifying than ever. 

A special celebration show marking the 50th anniversary of Ziggy Stardust landing on planet Earth. Performed by the award-winning band Absolute Bowie, this 2 hour show features an electrifying set of Ziggy’s biggest hits, not to mention so many best-loved tracks from the Starman’s other personas such as Aladdin Sane and the Thin White Duke of the 80’s. So get dressed up, warm up those vocal chords, even paint a flash on your face and join in the fun in this huge David Bowie extravaganza.. Let’s dance!

“Ladies and Gentlemen, would you please welcome….. me!”
“That was awesome!” Dave Grohl (Lead Singer - Foo Fighters)

This World-Famous tribute band ‘UK Foo Fighters’ takes you on a journey spanning 25 years of music from the now legendary band ‘Foo Fighters’ and their charismatic leader, Dave Grohl.

Featured in Classic Rock, Rolling Stone, Kerrang, NME, Q, MOJO and Planet Rock magazines. ‘UK Foo Fighters’ have built an incredible reputation over the last 12 years, heralded by Dave Grohl himself and celebrated as ‘THE’ tribute to the Foos in a 2017 BBC documentary called ‘UK Foo Fighters - My Hero’, placing them firmly amongst tribute’s elite.

They absolutely nail the true vibe of a Foos live experience, all performed down to the closest detail making it a truly unmissable show for any rock music fan.

“Respectfully and beautifully replicating the magic.” - THE ARGUS

Though formed in Nashville, COIN have carved out a space in the field of bright, synth-spiked indie pop more often associated with LA & NYC. Started while students at Belmont University, COIN is comprised of Chase Lawrence, Joe Memmel, and Ryan Winnen. 

Since the release of their gold-certified 2017 breakout hit "Talk Too Much," the group have impressively generated over 1 billion streams, become a mainstay on Alt radio, and scored a number 1 at Triple A radio. Now they are ready to release their most ambitious and most conceptual project yet. Due in March 2022, their upcoming album Uncanny Valley is an AI inspired synthesis of modern high fidelity, and nostalgic organic instrumentation.

Ending 2021 with a sold-out North American tour, the band will continue to stay busy touring this year, bringing their frenzied live show to stages all over the world.

To call The Doors Alive merely a tribute act would be a huge disservice to what is the closest thing possible to experiencing a Doors concert without the aid of a flux capacitor and 1.21 gigawatts. They are high priests who allow us to worship at the altar of The Doors by continuing the word and gospels of Jim Morrison, Ray Manzarek, Robbie Krieger and John Densmore." - Pure Magazine, Ireland.

The band recreate the sound, look, presence and magic of a real 1960's Doors concert, perfectly and effortlessly transporting the audience back in time with classic hits such as "Light My Fire", "When The Music's Over", "Riders On The Storm", "The End" and many more. The Doors Alive have over 1,000 shows under their belt to date.

The Doors Alive formed in 2005. Since then there have been a few changes, but the current line-up is the best it has ever been!

Frontman Mike Griffioen captures the look, attitude and rich baritone voice of the late great Jim Morrison with ease while his compadres Barrington Meyer on guitar, Buzz Allan on drums and Norbert Varga on keyboards showcase the musical chops of original Doors

members Robby Krieger, John Densmore and Ray Manzarek with finesse and authenticity. They take pride in using the exact same vintage equipment to achieve an authentic sound, including Rhodes Piano Bass, Gibson G101 organ, Gibson SG and Ludwig Mod Orange drum kit. They are keen on making every single show unique by authentic improvisations and changing the set regularly so you will never see the same show twice! 2022 sees the 55^th anniversary of Doors albums Strange Days and The Doors and the band will be playing select songs from both.

The Doors Alive have left awestruck audiences in several countries around the world, including the UK, Ireland, Australia, Denmark, France, Belgium, The Netherlands, Germany, Austria, Poland, Slovenia, Malta, Greece, Turkey, Lebanon, UAE and Chile to name but a few. They repeatedly sell out some of the most well established venues in Europe. They have played at the legendary Isle of Wight Festival and played on the same bill with such legendary musicians as Status Quo, Canned Heat, Nazareth, Uriah Heep, Manfred Mann's Earth Band, Eric Burdon and Kris Kristofferson. In Chile the band played an arena show to 4,500 Doors fans! In several countries including France and Lebanon the band have been featured on national television.

Songs created in the shadow of terror and loss, but that crackle and pop with defiance, wrestled into being over one of the most extra-ordinary years in recent history. Ideas born of pandemic and isolation, but that demand sharing and then celebration. A statement of desperation, but also of intent. Of two-fingers anger, and two-footed celebration.

The complete vision, that top-to-bottom rigour, is what makes the second album from Working Men’s Club such a stunning and totally unique achievement. This is Fear Fear, a record made for agitating and dancing, for heart and soul, for here, now and tomorrow.

But before we get there, a little recent history. In late summer 2020, in the heartbeat between lockdown#1 and lockdown#2, Working Mens Club released the debut album of the year. Critically acclaimed and commercially loved, the album was a surprise and refreshing Pandemic breakthrough.

Working Men’s Club by Working Men’s Club was ‘the Heavenly sound of young Yorkshire’. More specifically, it was the sound of singer and songwriter Syd Minsky-Sargeant processing a teenage life in Todmorden in the Upper Calder Valley.

Writing and demoing in his childhood bedroom, the 18 year old lyricist-lad was armed with a Korg Volca FM digital synthesiser, a 1986-vintage Roland Rhythm Composer TR-505 drum machine and MIDI sequencer, and a battered MacBook Pro laptop. He was aided by ace Sheffield producer-wingman Ross Orton (Arctic Monkeys, MIA, The Fall) and his bandmates Liam, Mairead and Rob. So bolstered, the frontman channelled synth-rock, Krautpop, Afrobeat, jolting dancefloor energy and the sonics of Cabaret Voltaire.

But as he points, out, he was 16 when he wrote some of those songs. That was him then, there, stuck on the precipitous uplands leading away from the River Calder. Now 20, he had to get up and out of the Valley – at, ironically, a time when none of us could go anywhere much. So his imagination, and his vision, had to do the travelling.

Get ready, then, to embrace ‘Fear Fear’ a record for which Minsky-Sargeant submitted to Heavenly many of the song demos on 2nd October 2020, the very day its predecessor was released.

Get up, get on, get going: from autumn 2020 onwards, for a solid year, Minsky-Sargeant and Orton worked, on and off in week-long chunks, in the producer’s Sheffield studio. The musician finessed the new songs, and wrote yet more – so much so that at one point he contemplated a double album. But he was talked down from the ledge, and mercifully so. Fear Fear is a taut yet expansive, intimate though epic, intense and ultimately elevational 10-song set, we might call Syd Minsky-Sargeant: The Plague Diaries. Any longer, someone might have got hurt.

“The title Fear Fear summarises a mood that’s been around for 18 months – and, in fact, for a lot longer. There’s a miserable kind of war that’s going on. People are scared of things aside from coronavirus. It documents time during lockdown to an extent, but it isn’t just about that” he explains. “The first album was mostly a personal documentation lyrically, this is a blur between personal and a third-person perspective of what was going on’

The pandemic thistle is grasped from the off, in opening track 19. A dirty disco robo-shimmy with an extended instrumental opening, it eventually sees Minsky-Sergeant begin WMC's second album with as sinuous and evocative a turn-of-phrase as he did his first: “A timid dirty whisper / a flicker in the eye / she beckons as he shivers / he lunges as he cries…”

“It’s about lots of juxtapositions between images of being scared.” Yes, it’s “19” as in Covid-19 – although he was also 19 when he wrote it – but it’s more incantation than lamentation. Lyrically, too, “it’s about how the environment came back and reminded humanity that it’s far more powerful than we are.”

Then there’s the track Fear Fear, where acid squelches are prefigured with the shivery thrill of what sounds like an air-raid klaxon.

“With that sound, I wanted to combine the digital element with the more physical, real-life threat element. And I just loved that sound – I’d been fucking around with a Juno 106 synth. I wrote half the record on that.

“The song is about the Zoom world that we all went into – how everyone’s social lives became online,” he expands. “Instead of going to the pub, you’d open up the laptop. All your socialising – and work – became virtual. Me and Ross did it: we made a record over Zoom, and did a load of remixes,” he adds of their work as Minksy Rock. “Or your relationships become completely digital, and your perspective of someone’s house and life becomes what you can see on the screen.”

The first blast from the new album is lead single Widow.

A pumped-up, amped-up electro-choral shout-out with stabs of Peak Depeche, it’s Minsky-Sargeant’s empathetic reach out to those left lost by recent life, literally or metaphorically. In its original form, “it was an old song which was a first album demo. But it was a guitar tune so it didn’t make it. But now we’ve completely reworked and reproduced it – and it’s still completely relevant to the overall idea. It’s not a concept album, but there is a meaning behind the record, in terms of death. There’s been a lot of death over the past two years."

For all that, Widow, like the rest of the album, is no long dark night of the soul. Yes, there is bleakness – how could there not be, given the challenges last two years? – but there is also hope and empathy. And when even those are in short supply, there are banging tunes aplenty.
Case in point: Ploys, a techno-soul masterpiece that Minsky-Sargeant admits is purposefully “unsettling. That’s one of the more personal songs”

Or there’s the sparkling-sounding Cut, where the irresistible melodicism and bounce belie the moody message, meaning it will nonetheless be igniting festival fields this coming summer in the wake of the July release of Fear Fear.

Breaking down its creation, Minksy-Sargeant says: “I had the synth and drum machine backing track done for about a year. It used to have this really long sample on the front of it from a 1979 New York gang documentary – 80 Blocks from Tiffany’s. Then it was an instrumental, Kraftwerk/Kraut-y thing. Then the lyrics just came to me in the shower. I did a lot of talking during lockdown, with Ross in particular, Mairead and my parents. And this monologue came out of my head after thinking about lots of things in society. Then I wrote that guitar part at the same time.

“I like the contrast of it being happy, uplifting music and really dark lyrics. And I was left to do exactly what I wanted to do,” concludes Minksy-Sargeant. “In the studio, it was far more produced this time, and it was just me and Ross mainly. Because we’d done all that Minsky Rock stuff, we knew we worked together really well. There’s no breaking that at this point. I completely trust Ross, and he completely trusts me.

“But also, the mix process was a lot longer. It felt like we really carved stuff out. It’s not a minimal record, this, certainly compared to the first one. That’s because there’s been a lot more going on that needed to be said. That needed to be portrayed. So it needs to come across as busy.”

Making the busy feel finessed and the dreadful feel magical – Fear Fear manages those feats, and then some. Or, as Syd Minksy-Sargeant puts it: “We just set out to make the best-sounding album we could.”

Job done and game on.