alexisonfire tour dallas green

Dallas Green Recorded With Pink, Screamed Hardcore Songs. His Folk Album Will Crush You

By Joseph Hudak

Joseph Hudak

Remember the first time you heard Jeff Buckley’s haunting vocals on Grace or felt R.E.M.’s emotional wallop through the arrangements of Automatic for the People ? City and Colour ’s The Love Still Held Me Near hits just like that. But its creation didn’t come easy at all for Dallas Green . The Ontario, Canada, singer-songwriter had to process two deaths during the making of the album. But it’s that grieving that gives The Love Still Held Me Near its heart — even as it crushes yours.

“When I started writing, I was digging into these emotions I had been holding onto and it all started to unfurl. Now I’m writing about God, and I’m writing about my whole life. I’m writing about these things I’ve been questioning and understanding that it wasn’t singular to me,” he says. “That was the ‘a-ha’ moment — that I can ruminate on all these things and write myself out of my own head, but if I broaden the scope a little bit and make something beautiful out of my pain, then it moves on. It grows wings and then it maybe can resonate with somebody else.”

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“We’ve had everything we wanted, then we fucked it up,” Green sings in his falsetto in the chorus to “Fucked It Up,” a song he admits made him snicker when it came to him one night. “I thought, ‘I can’t say that,’ but then I just sort of leaned into it.”

Leaning into unconventional creative approaches has served Green well over the course of his career. While he remains a bit of a mystery to American fans, in his native Canada he’s regarded for his musical diversity. In 2001, he co-founded the punk-and-hardcore group Alexisonfire , balancing out singer George Pettit’s screamo vocals with his own haunting Buckley-esque croon. The band became shout-along heroes, played the Warped Tour, broke up, and recently reunited.

In 2014, during Alexisonfire’s break, he teamed up with pop star Pink to release an album of folk songs as You+Me . Green says another one may be on the way: “We’ve got about eight songs recorded. I leave it up to the mercy of the giant machine that is her life, but we all talk about it as something that we’ll always be able to do.”

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Recording as City and Colour, Green is nothing but vulnerable. In first single “Meant to Be,” he calls back to his Catholic upbringing and, to those raised in Catholicism, does the unthinkable: dares to question it. “When I grew up I had big city dreams/I wondered if the Bible was wrong/what the hell were they teaching me?” he sings. “It’s hard to shed a lot of that stuff you’re taught,” he says now.

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“It’s about the realization that you do have to live your life” he says, “to honor the people that are not here.”

City and Colour’s U.S. Tour Dates: May 9 — Chicago @ Riviera Theatre May 10 — Indianapolis, IN @ The Vogue May 12 — Columbus, OH @ Kemba Live! May 13 — Richmond, VA @ The National May 15 — Philadelphia @ Franklin Music Hall May 16 — Washington, D.C. @ Warner Theatre May 17 — Boston @ Roadrunner May 19 — New York @ Beacon Theatre May 20 — Portland, ME @ State Theatre May 21 — Ithaca, NY @ State Theatre

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City and Colour at Majestic Theatre Dallas

City and colour tickets, majestic theatre dallas | dallas, texas.

This 2023, Canadian singer-songwriter and esteemed music producer Dallas Green, a.k.a. City and Colour, will embark on a highly-anticipated global tour with a hefty string of dates across Europe and North America! In September, the platinum-selling artist will make his way toward the U.S. to perform a limited number of shows, 15 dates to be exact! On Tuesday, 12th September 2023, City and Colour will deliver his folk-driven hits at the Majestic Theatre Dallas! Fans can anticipate a myriad of City and Colour staples, such as “The Girl,” “Underground,” “Lover Come Back,” “Meant to Be,” and plenty more! Aside from older hits, City and Colour will also showcase new songs from his latest album, The Love Still Held Me Near! Whether you’ve been a longtime follower of his work with Alexisonfire or a newfound fan of his solo works, you should quickly secure tickets to see City and Colour at the Majestic Theatre Dallas!

City and Colour’s 2023 tour is set to debut the tracks from his latest effort, the Love Still Held Me Near. The album peaked at number 12 in his home country in Canada and spawned two chart-performing hits, “Underground” and “Meant to Be.” This 2023’s set list is also anticipated to feature many of City Colour’s career-spanning staples from his earlier releases.

In 2005, Dallas Green, who plays guitar for Alexisonfire, pursued his solo project, City and Colour, and released his debut album, Sometimes. The record featured several hits, including “Save Your Scissors” and “Comin’ Home,” which earned platinum status in Canada. Three years later, Green entered the charts for the first time with his sophomore effort, Bring Me Your Love, peaking at number 3 on the Canadian chart and number 11 and 35 on U.S. Billboard’s Heatseekers and Independent Albums. The album was led by two platinum-selling hits, “Sleeping Sickness” and “The Girl.”

City and Colour began receiving incredible traction, and the albums have achieved phenomenal commercial success. By 2011, Green had released his first number 1 ranking with his third effort, Little Hell. It was also his first record to enter the Billboard 200 chart. For his subsequent releases, Green continued to top the Canadian charts and earn several gold and platinum certifications.

His exemplary work has also earned him numerous accolades, including three Juno Awards and seven Juno Award nominations. He won his first Juno in 2007 when his debut effort, Sometimes, won Alternative Album of the Year. He later won Songwriter of the Year twice, once in 2009 and another in 2012, for the singles “Waiting..,” The Girl,” “Fragile Bird,” “We Found Each Other,” and many more.

Last year, City and Colour released the lead single “Mean to Be” from his latest album, The Love Still Held Me Near. The song peaked at number 44 on the Canadian Rock chart, followed by “Fucked It Up,” which reached number 3.

You can expect City and Colour to perform these amazing hits at his upcoming show at the Majestic Theatre Dallas. Green has been praised for his phenomenal tight sets and outstanding storytelling through his emotive lyrics.

Catch City and Colour at the Majestic Theatre Dallas on Tuesday, 12th September 2023, by scoring your tickets now!

• | September
• | City and Colour

'All I was doing was living': How Dallas Green explores grief on his new City and Colour album

The alexisonfire singer’s new solo album is about life after the sudden loss of a loved one.

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Introspection has been a key element throughout City and Colour's discography.

"When I put out the first record, and it was basically just a bunch of journal entries to six- and- a- half minute long acoustic songs, a bunch of people took that and ran with it," Dallas Green told Q 's Tom Power. "I've always sort of felt supported in this way of writing."

• Q with Tom Power Logic started rapping as therapy. Now, his music is helping fans get through their darkest moments

But, in crafting his latest album, The Love Still Held Me Near , Green knew he no longer could write purely from his own perspective.

"The things I was going through were absolutely not singular to me and my friends," the Alexisonfire band member said.

WATCH | Dallas Green's interview with Tom Power:

"I was experiencing the grief of my friend who I considered a brother, I was experiencing the loss of love in a way," he said. "I was experiencing the sort of loss of what I assumed my identity was — just this person who goes out and makes music and tours, and then that was not there."

Karl "Horse" Bareham was a British music producer and engineer that worked with Alexisonfire on tour from the mid-2000s. When Green began releasing music as City and Colour with his 2005 solo debut Sometimes , Bareham became an integral part of the recording process — helping to produce his 2019 album A Pill for Loneliness . 

Shortly after the latter album's release, Bareham passed away unexpectedly. Green toured in support of the album not long after he learned the devastating news and a whole group of friends who had worked with Bareham were left in mourning. 

"I think for everybody that was involved it stopped time," said Green. "It's so strange that the pandemic would follow months later — it really just separated all of us too and then we went into this grieving period."

Moving through life

Much of The Love Still Held Me Near is explicitly about the loss of Green's friend. 

"So much of it is informed by losing Karl because it's the deepest experience I've ever had to go through regarding grief," said Green. 

"It's just about loss as a whole, trying to move through that and find your way to the other side of it," he said. "Me being the way I am, and writing about my feelings, it was a really interesting process to go through.… How do you write about something like that elegantly and still be as honest as possible?"

Helping others

By writing about a very personal experience, Green created an album that appeals to people more broadly.

"I like to have these big, unanswerable questions that I pined over and then just try to write like a little, pretty simple song about it," he said. I can just write a document that represents where I am as a human being right now in this stage of my life and then you just hope that it can grow wings and resonate with somebody else."

But in creating this album, he could also help other friends who were reeling from the sudden loss — mourning exacerbated by the pandemic. 

"All I was doing was living," he said. "Then I thought, 'OK, I can write about this. This is not just for me, but this is just something I can do.'"

Learning and growing

While The Love Still Held Me Near is a highly emotional album, many of its songs resonate with hope.

"So many of these songs were about our friend who we used to make records with, and he's not here," he said. 

For Green, the album ended up feeling like a reunion of friends — many of whom had worked closely with Bareham.

"We had all been going through their own versions of the pandemic and life changing … but I'm really proud of us," he said. "I think we made a really beautiful sounding record that sounds alive."

In the aftermath of struggling with this loss, Green would return to play some of these songs in Australia, where Bareham had lost his life.

"We went back to the small town, we had lunch where 'Horse' had breakfast, for the last time," he said. "There was no part of me that was not going to go back to Australia because I had had so many beautiful moments there, and a lot of them with Horse." 

"To avoid it is to do nothing of service for yourself."

In going through such a personal loss and creating such a personal record, Green feels as if he has changed for the better. 

"I did think I found a new version of myself [and] I think I found some way to be proud of myself," he said.

"I think I found that instead of going the way that I could have gone in the darkness, I chose the other way and I do feel different."

The full interview with Dallas Green is available on  our podcast, Q with Tom Power . Listen and subscribe wherever you get your podcasts.

Interview with Dallas Green produced by Vanessa Nigro.

ABOUT THE AUTHOR

Oliver Thompson is a writer, producer and musician. Originally from the UK, where he worked for the BBC, Oliver moved to Canada in 2018.

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• Consequence

Dallas Green Talks Alexisonfire’s First Album in 13 Years: “It Just Feels Perfectly Timed”

The Canadian post-hardcore band's fifth studio LP, Otherness, is out now

Sometimes, all it takes is a little time to realize where you’ve been, where you are, and where you’re going. For Alexisonfire , that little time was actually a lot, spent on and off the road outside of the particular confines of this band itself. The Canadian post-hardcore band gave us a pretty definite swan song in their farewell tour documentary series, turning to their changing lives, expanding families and fruitful side projects as reasons for seeming separation, though they were never that far from one another.

That’s something proven on Otherness , their first album in 13 years. While its foundation was built during the uneasiness of the pandemic, the album is about so much more than the forced distance we all went through. All five members contributed a piece of themselves to the record but from what we’ve gathered from our conversation with singer-guitarist Dallas Green, it’s more about what the album itself contributed to them as a band, and what it hopes to contribute to their fans. They’ve never shied away from the ways in which they as individuals and as a collective have fallen into the idea of “otherness,” but with it as an album, they hope to redefine the term as a means of acceptance.

With Otherness available now, and Alexisonfire embarking on the summer leg of their 2022 North American tour ( tickets available here ), Green spoke with Heavy Consequence about their comeback album, the future of the band, and more.

In regard to the band releasing its first album in 13 years, why did you feel like now was the right time?

For starters, the pandemic, just stopping all of our collective lives in a way. [Co-vocalist] George [Pettit] is a firefighter as well, so he wasn’t able to not work. He was working all through the pandemic. But for the rest of us, there was nothing going on in our lives. We had stopped, everything had stopped, just like a lot of people. What we did have was this band. Wade, the other guitar player in the band, messaged us one day because he was coming back into Toronto, and said, ‘Should we jam?’ Not to get together, write songs or get together and make a record. Just literally it was something that we could do. We just started jamming because it was this beautiful thing that we still had in our lives, and we still appreciate one another’s company. That was what really started it. I think because it was such a strange time for the world but it didn’t feel like that when we started playing. We had little bits and fragments of pieces of songs on our phones from over the years of when we would rehearse for tours and stuff, and we wrote a couple of tunes, but this was just jamming, and it really just started f**king pouring out of us. We started in the Fall of 2020, and by the end of February, we had an album. We recorded it in a week. It was probably the most simply pure, creative experience that we’ve had since we were kids when we made the first record, and when we didn’t think anybody was going to listen, you know? I wish I had like a more like I wish I had a better answer for you of why, but it really just kind of happened.

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Dallas Green Talks Alexisonfire's First Album in 13 Years: "It Just Feels Perfectly Timed"

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Dallas Green Talks Alexisonfire’s First Album in 13 Years: “It Just Feels Perfectly Timed”

The post Dallas Green Talks Alexisonfire’s First Album in 13 Years: “It Just Feels Perfectly Timed” appeared first on Consequence .

Sometimes, all it takes is a little time to realize where you’ve been, where you are, and where you’re going. For Alexisonfire , that little time was actually a lot, spent on and off the road outside of the particular confines of this band itself. The Canadian post-hardcore band gave us a pretty definite swan song in their farewell tour documentary series, turning to their changing lives, expanding families and fruitful side projects as reasons for seeming separation, though they were never that far from one another.

That’s something proven on Otherness , their first album in 13 years. While its foundation was built during the uneasiness of the pandemic, the album is about so much more than the forced distance we all went through. All five members contributed a piece of themselves to the record but from what we’ve gathered from our conversation with singer-guitarist Dallas Green, it’s more about what the album itself contributed to them as a band, and what it hopes to contribute to their fans. They’ve never shied away from the ways in which they as individuals and as a collective have fallen into the idea of “otherness,” but with it as an album, they hope to redefine the term as a means of acceptance.

With Otherness available now, and Alexisonfire embarking on the summer leg of their 2022 North American tour ( tickets available here ), Green spoke with Heavy Consequence about their comeback album, the future of the band, and more.

In regard to the band releasing its first album in 13 years, why did you feel like now was the right time?

For starters, the pandemic, just stopping all of our collective lives in a way. [Co-vocalist] George [Pettit] is a firefighter as well, so he wasn’t able to not work. He was working all through the pandemic. But for the rest of us, there was nothing going on in our lives. We had stopped, everything had stopped, just like a lot of people. What we did have was this band. Wade, the other guitar player in the band, messaged us one day because he was coming back into Toronto, and said, ‘Should we jam?’ Not to get together, write songs or get together and make a record. Just literally it was something that we could do. We just started jamming because it was this beautiful thing that we still had in our lives, and we still appreciate one another’s company. That was what really started it. I think because it was such a strange time for the world but it didn’t feel like that when we started playing. We had little bits and fragments of pieces of songs on our phones from over the years of when we would rehearse for tours and stuff, and we wrote a couple of tunes, but this was just jamming, and it really just started f**king pouring out of us. We started in the Fall of 2020, and by the end of February, we had an album. We recorded it in a week. It was probably the most simply pure, creative experience that we’ve had since we were kids when we made the first record, and when we didn’t think anybody was going to listen, you know? I wish I had like a more like I wish I had a better answer for you of why, but it really just kind of happened.

I feel like that’s a great answer, though. It seems like it was kind of collectively cathartic for all of you to get it all out.

Exactly. After we made the first record, we were a band for a long time. Whether it’s subconscious or not, you go on tour for two years, and you come off and you’re like, ‘Hey, we have to make another album,’ and you have to start to try to write and then you have to get ready to go back on a touring cycle and an album cycle and all that stuff. But for this, there was none of that — we didn’t even have a record label. There was nothing, just us and the tunes. I think the album sounds like that.

I’m curious as to how you feel about future albums, because they may not have that same type of cathartic energy to them …

Yeah, I’m sure there’s a bit of that. It’s weird, because we’ve been in and out of this band for two decades. I said to [guitarist-singer] Wade [MacNeil] when we were midway through recording, how it feels like he started the band over. He was the one who called everybody 20 years ago and said, ‘I have this idea, we should start this band with all of us.’ It was almost like he did it again. I think we feel different about it now, like we’re looking at it through different lenses. There’s this beautiful appreciation for the thing. And of course, you can’t escape the trappings of once you turn it into a product, and you have to sell it, and you have to talk to people about it, and you have to market yourself — it’s just the nature of the beast in a way where that stuff will ultimately kind of creep in. But it does feel like we have this sort of different perspective on the whole idea. It’s gratitude. I think in the beginning, we were shocked that anybody liked it first place. It’s weird music. But I think 20 years later, having lived pretty crazy lives together and separately, we’re trying to hold on to this real sense of gratitude that we can still go to this thing that we started when we were kids. Hopefully, we can keep as much of that as possible moving forward.

I was thinking back to when I’d watched the farewell documentary and the mindsets and the energies that you all had, and I was wondering if anything has changed. Especially for you and how you felt during the documentary versus now …

When we stopped, it was a very emotional period in our lives. It had become this thing that none of us really imagined it could be. And then it was ending because life’s getting in the way and I’m leaving the band because I had this other thing I was doing [City and Colour]. It was a very emotional, sort of heavy time. But, you know, time heals a lot of stuff. We’d been playing here and there, but this just feels a little different. It does feel like we can hold on to this sense of gratitude now, and the shared experience of everything. It’s funny, because when we did break up, we felt like we broke up really well. I remember George saying he was worried about us coming back, even when we started playing again like five or six years ago, because he thought we had done it, and we had ended it on a really like classy note. We’re all pretty self aware. That’s another part of it, too, right? We didn’t want to come back and just make it seem like it was this nostalgic thing or this paycheck thing. We wanted to make sure we were doing it and feeling good about the band still. I think that’s probably also why it took so long for us to make an actual record, because we’ve all been tiptoeing back into it a little bit. When I think about the farewell stuff and those interviews, it’s just a sign of where we were, but this feels totally brand new, in a strange way.

And if it’s any sign of where you’re at now and how all of you have matured, I’ve been listening to Alexisonfire since I was at the tail end of middle school, early high school, and I’m in my 30s now.

And I’m in my 40s.

So we’re not that far off. And you’re right, it’s really indicative of where you were at age-wise and mindset-wise back then, because it was so long ago, and so much has happened in the world and in general sense. I hear you in regards to the “if we’re gonna come back, it’s not going be one of those kind of, like, sell-out reunion tour type things or whatever,” you know?

No, I don’t think we’re capable of it. Right? When I say this stuff, I’m not dogging anybody who does it. It’s just us, this is just our outlook on it, you know what I mean? I don’t think we were ever one of those bands in the first place. I think we got pigeonholed into a scene, but I’ve always felt like we are different. I don’t think anybody sounds like us. We are a weird amalgamation of five people who think differently, but who are also able to think completely alike when we need to. And I’ve learned this about myself, having only made music now for 20 years, I can’t force myself to be creative. I just have to wait for the moment to hit me, and then I go f**king nuts with it. with us making this record, as strange as it seems in 13 years from our last one, it just feels perfectly timed, you know?

Yeah, I get that, and I think that’s beautiful, too. As far as how you all approach writing and recording songs, do you feel that has changed at all?

We’ve always been pretty collaborative as far as trying to write songs. Nobody ever just like showed up with a song. It was always one of us start with an idea, and then everybody puts their input in until we can get to the point where all of us are in agreement that this is the way it should be. There are concessions made from your own personal opinion, because you’re trying to be in this democracy where five people are trying to agree, right? But I think this record was the most collaborative we’ve ever been. Top to bottom it was all of us talking and constantly writing the lyrics together. You know, ‘what is best for the song?’ Not not just ‘I’ll do this part because it’s my part’ or, George has to sing the thing that he wrote and I have to sing the thing I wrote.’ It’s a trust in one another that we can, in a way, we can speak for one another.

So then I’m curious, because when I think of a term like “otherness,” I think of being a racial outlier or gender outlier, or things that are particularly pertinent within society right now. I’m wondering what your personal connection is to this overarching concept of otherness, and how the band came to a place where that was the overarching theme of this album?

I think it’s a beautiful word, and I think being different should be celebrated even though it isn’t all the time. When I think about this group of people that I’ve known for half of my life, we’re very weird people, and when I wrote “Sweet Dreams of Otherness”, it was almost at the tail end of having written all the other songs, and I’ve always had that word written in my notes to try to use in a song. I was having such a beautiful experience being back collaborating with these dudes, and being reminded constantly about how wacky we are. I started writing that song as a total reaction to my love for these people. I think Alexis has always had a bit of “otherness” to us. My favorite part about music is that you can write something from your own perspective, and then it can go out into the world and everybody can take what they need from it. I also wanted to try to write an anthem for people who feel sort of a kinship to that idea, and have it be celebrated and not be this like derogatory term. I wanted to flip the idea of this word being a negative thing and have it be something to embrace. It’s weird, since it’s five white, straight men singing it, but I feel like it can be more than that.

I agree with you and I also feel like, and this might sound funny, but I feel like the fact that it is coming from five straight white dudes at a time like this, kind of does mean something. I feel, as someone who, in the bad sense of the term, is an “other,” and has been made to feel that way, predominantly by white dudes, that this touches me, you know what I mean?

That’s good! That’s what I was hoping for, and we talked about this when I wrote the song. When we decided to call the record that, we had this conversation like, ‘Is it okay for us to do this?’ Like I said, we’re aware, and we are not ignorant people, and I think we all agreed that if it was done the right way that it could be more than just the song for us. To hear you say that to me, that’s all I was hoping for.

I know when I’ve been at certain shows, as a woman of color, it’s sometimes not safe and that’s really a bummer, because we’re all fans of the same kind of music. That’s why we’re there. I feel like for many other Alexis fans of color this will be pretty special. That type of acceptance isn’t always one that I’m used to feeling when I go to shows that are in the scene, you know what I mean?

Yeah, I do. I grew up in it, right? Like touring around, and being on all those hardcore shows and all that stuff. It can be a very shitty place to be. George always, always says an Alexis show is a safe space for anybody who feels different, but it is a decidedly unsafe place for f**king misogynists, homophobes, racists and anything like that. It’s not a safe place for those people.

What would you say are some of the other themes present, but maybe not as apparent as this one of otherness, on the album?

Well, we allow ourselves to write about whatever we feel we need to write about. It’s always been that way — we cover a lot of topics. But this one somehow felt even more personal. It’s hard for me to say it any better than [bassist Chris] Steele did. On “Reverse the Curse,” he speaks openly about his journey with recovery, because him and Wade are both recovering. It’s been a long journey for both of them. There are two songs on the record, “Reverse the Curse” and “Blue Spade”, that are both written by Chris. He kind of allowed us to be the voice for it, and that’s the first time we’ve ever openly spoke about it together. There’s a song on [our 2006 album] Crisis called “To a Friend”, and that’s me writing to Steele, I wrote that song about him. Because of what he was struggling with at the time we never, ever really spoke about that. It was just this internal conversation between us. I know that’s not any lighter than what we were just talking about, but it’s real, you know? And, it’s one of those things that’s not a singular experience to Chris — it’s something that a lot of people deal with, or have to try to deal with. So being able to write songs about that, and kind of be this voice for it, is something I think that we took very seriously.

Dallas Green Talks Alexisonfire’s First Album in 13 Years: “It Just Feels Perfectly Timed” Cervanté Pope

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Interview: Dallas Green talks new Alexisonfire album, old ideas and true friendship

• June 15, 2022
• Alexisonfire
• City and Colour
• Dallas Green

Alexisonfire remain one of Canada’s and the post-hardcore scene’s most influential bands. The charismatic quintet has returned with their fifth studio album Otherness – the band’s first full-length in 13 years – to be released 24 June via Dine Alone Records / Cooking Vinyl Australia .

We caught up with vocalist and guitarist Dallas Green to chat about the new record and what inspired the reunion.

“Life’s pretty good, my friend. Back playing some shows again and trying to find that new version of normal that I think everybody is trying to, you know. It was very strange because this is all I’ve done since I was a kid and the pandemic was the longest time I’ve had away from the road since I started doing this 20 years ago.”

Coming back from such a long break between albums, the band obviously had something to say. Otherness discusses themes of dejection, isolation and love – most likely inspired by the post-COVID lifestyle. The decision to make and release another album was not so much deliberate as it was coincidental.

“It’s weird to say it, but I don’t think the record exists if the pandemic doesn’t happen. George was the only one still working during it because he’s in the emergency services, but the rest of us were sort of sheltered and trying to be creative on our own.”

Dallas Green has been busy in recent years with his solo project City and Colour , including four albums and a headline slot at Brisbane Festival in 2019. With the shutdown of the live music industry and international travel during the pandemic, he turned to music for salvation and his fellow band members saw it as an opportunity to get together.

“It wasn’t until Wade messaged everybody and said, ‘Should we try to have a jam for something to do?’. Because of this gratitude for one another and for this thing that we can still do after all these years, the creativity was just starting to explode out of us and next thing you know, we had a record.”

Featuring the singles ‘Sweet Dreams of Otherness’, ‘Reverse the Curse’ and ‘Sans Soleil’, the 10-track project was self-produced and recorded in about a week and is AOF’s most progressive yet. Some of the ideas for the album, such as the lead riff in ‘Reverse the Curse’, were in the vault for years before the band found a use for them.

“For me, I try not to spend too much time on records. The last City and Colour record I made over a long span by going in every couple of weeks, crafting it that way. But I like to just sort of go in and capture the spirit of what you’re trying to create in that moment.”

“As far as riffs go, myself and Wade don’t throw anything away. Our phones are filled with riffs and voice notes that have been kicking around forever. I would say about 50% of the tunes on the new record are things that we were working on a few years ago. I’d say about 25% of it is all stuff that came about just as we started jamming. The other 25 is stuff that was just hanging around forever.”

The album consists of classic AOF punk riffs, tight drums and blended harsh and clean vocals. While there is a lot of urgent rock elements on the record, it also has tender moments of soft keys and Green’s heart-melting (or heartbreaking) croon with the sophisticated and substantial lyrics we know and love.

“We didn’t want to go and make Crisis 2 or something. We all have such a wide berth of musical inspiration between all 5 of us and we all like different styles of music. The thing about this record I think that makes it a little bit more special is that my friend Matt Kelly was in the studio with us, who is this wizard of a musician who can play anything you put in front of him. Having his ability to allow our ideas to come to life really took the record to the next level.”

Latest single ‘Sans Soleil’ is a harrowingly beautiful track and a standout of the record, written by guitarist/vocalist Wade MacNeil and sung by Green. Something the band does a lot on this record is perform each other’s parts as a collective voice, rather than claiming the lyrics as their own contribution.

“I think we made something that we can be really proud of, especially being in the band for this long. I really love ‘Blue Spade’ – I think I’m more emotionally attached to that song because Chris wrote the lyrics to it and it deals with something that’s very personal to him and to us because we’ve lived it with him. So, to have him write these words and then allow me and George to sing and be his voice was a really special moment.”

The beloved punks are also hosting their own four-day concert series Born & Raised , co-headlined by City and Colour, at St. Catharines in Ontario from 30 June to 3 July. The two artists will both be performing their debut albums in full for the first time ever at the event for their respective 15- and 20-year anniversaries.

“It’s something that we’ve been kicking around for a while. We’re holding it in St. Catherine’s, where we’re from, and we’ve played there a few times since things got crazy for us. But especially after the pandemic, we wanted to do something in our hometown where we could celebrate live music again.”

Alexisonfire last toured Australia in 2017 and it looks like there may be something on the horizon for their fans Down Under.

“Hopefully we’ll see you next year sometime.”

You can purchase tickets to Born & Raised HERE . Otherness is out 24 June via Dine Alone Records / Cooking Vinyl Australia.

Photo Credit: Vanessa Heins

Dylan Oxley

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• Record at THE STUDIO by Rolling Stone India at Creatorland Mumbai

Alexisonfire’s Dallas Green: ‘It Feels Like We’re Starting Over, In A Good Way’

The Canadian post-hardcore band’s singer and guitarist talks about the way forward after releasing their first new material in nearly a decade and prepping for a new City and Colour album

Canadian post-hardcore band Alexisonfire. Photo: Vanessa Heins

When post-hardcore was (somehow) part of the mainstream music pie in the early 2000s, among the names being featured on the radio as well as receiving slots on MTV2 were Canadian band Alexisonfire. They became one of the big draws for fans of emo, melodic hardcore and metal when they featured multiple times on American tour series Warped Tour and arguably put Canadian post-hardcore on the map.

But after critically acclaimed albums like Crisis and Old Crows/Young Cardinals , and their EP Dog’s Blood in 2010, there was an unease that set in and by 2012, a final departing EP called Death Letter was gifted by Alexisonfire to fans, featuring re-made, quietened versions of some of their best known material. “The band and the fans, I think everybody needed to have a bit of closure on that period,” says vocalist and guitarist Dallas Green, who was also steadily building his solo identity with folk/acoustic and bluesy rock tunes as City and Colour. Guitarist and vocalist Wade MacNeil too had been taking on other projects, including fronting U.K. hardcore punk band Gallows.

Within three years of the end, however, Green was putting out feelers and Alexisonfire was back in the game, reuniting at bigger summer festivals in 2015. He says over the phone from Toronto, “We’d all been talking. We didn’t break up because we didn’t like each other, it’s just some other stuff that happened.” Slowly and steadily, they went beyond the nostalgia value and grew into the dependables. That idea is best seen (and heard) with “Familiar Drugs,” their first new material since 2010 that came out in February. A video showing all the members raging at their best, was out last week.

In an interview with Rolling Stone India , Green talks about the return of Alexisonfire, writing new material and prepping for an upcoming City and Colour record this year. Excerpts:

George [Pettit, vocalist] mentioned in an interview that you were the one who started putting the feelers out there to see if Alexisonfire wanted to play again. 

When I left the band a long time ago, I worked a lot on making records and touring with City and Colour. I think what happened was, just a few years ago, we got an offer to do a show and we all started talking about it and at first we were apprehensive because of the way we had kind of called it quits but then it still made sense, because we were all still talking and still friends.

We were able to do it, so it was, ‘Let’s just play again, because we can and people seem to want to hear it.’ I think that was it. We started playing a couple of shows and we didn’t feel like we’d lost a step, we felt like we were just as good if not better than when we left. I think that had a lot to do with feeling that we were still contributing something. After a couple of years doing shows sporadically, I moved back to Toronto full-time and everybody was around a bit more so we started to write some new songs. And now here we are.

“Familiar Drugs” has lyrics by George about lethargy and it’s still an angry song. With newer material that you’re working on, what is the band’s current lyrical and sonic attitude like? Are there still things to be pissed off about?

A lot of people will just dismiss the music as angry, because of the way we just play and the sound, but it’s not always that. When George screams, people think he’s mad, but it’s not always negative. It’s more focused I think on the energy than anger. “Familiar Drugs” is about something specifically in George’s life but I think in general, it can be relatable. Trying not to let monotony get a hold of you and just trying to… go kicking and screaming, in a way, I guess.

I think the newer stuff we’re working on have a lot of different lyrical stuff, just as all our stuff. For instance, for City and Colour, I use that as an outlet to write very personal stuff, about things in my own life and I try to make them as relatable as possible so that people can hear them and try to take something from that. With Alexisonfire, since it’s a total collective effort, everything is talked about and discussed. We bring out different subjects and try to write them as a group.

It’s not all about being angry. Of course there’ll be stuff we’re angry about. It’s hard not to be angry these days, just with the state of things in the world, but it’s not always focused on that.

In the first decade that Alexisonfire were active, you were all in. What kind of qualities do you think you imbibed in that time that are guiding you even today?

I think we built up a lot of resiliency. When you’re young and in a band – especially a band making not the most popular sounding music – you’re going to be turned down a lot. You’re going to through a lot of… the fact that we’ve been an independent band and never really had much help from the outside music industry. It was all on our own terms and you had some things – like in Canada, which has a wonderful grant system for arts and music – that helped along the way.

You just have to develop a thick skin and a resiliency if you’re going to continue doing it. You’re going to spend so much time of your life in a van, driving to get to the next show. There might not even be anybody waiting to see you play. You might play for five or 10 people and then you got to get in the van, drive to the next city and hope that the next show is better. You don’t have any money to eat. There were a lot of hard times we went through just trying to… not only survive and stay in the band but also learn how to live with other people. There’s just five or six people sitting in a van for 20 hours a night, it can be a little bit trying, but then you have one good show and all of a sudden, it reminds you why you really wanted to try and do it in the first place. Those are the things… you have a happy moment and a good show with your friends and that just fuels you to keep going, to go through all the hard times and that’s just the way life kind of works.

Were there qualities you gained from City and Colour that you didn’t get from Alexisonfire?

No, I just applied the same things, the same work ethic to everything now. Been doing it for almost 20 years, but I still like to think I’m doing the same thing. City and Colour has always remained independent as well. Once Alexisonfire started to gain notoriety – and both, really because I was doing both at the same time – I thought, ‘I’ll just kind of stay this way’. For me, success has always been the ability to continue doing it. It’s never been about numbers or accolades or any of that stuff. I just always wanted to still be able to make music when I was older. I never wanted a hit song or anything like that. I just wanted to make music and hoped that people found something they liked about it.

You’re heading out on tour in June, now after the release of “Familiar Drugs.” What else is going to change on these dates?

Well, we’ll be playing that song, definitely which will be fun. We haven’t had much new stuff to play a while. I think we’ll probably have a couple more new songs. We’ll probably just do what we do, go out and play our songs as best as we can and have the time of our lives. If we can have people in the crowd having as much fun as we are, then everybody’s in for a good night.

Are there songs in your setlist that everyone looks at and just goes, ‘Nah we’re not playing this’? Is there some deliberation?

Sometimes, some of the older songs we just don’t know how to play them any more [ laughs ]. It’s funny but even when we try to relearn older songs, for some reason, they just don’t seem to feel right or they just don’t have that same energy coming from us. The way we look at it is if we just play the songs we feel best about, we’re going to present the best way, that’s better than kind of half-assing through an old song that someone wants to hear. Then you just have a shit version of it [ laughs ] and nobody’s happy. We try and pick the songs we all feel confident about so that we can drum up some feeling about and present it in a new fresh way, and hopefully we have a good time.

The end of Alexisonfire in 2012 was quite drawn out – from the announcement in 2011 to the shows in 2012. And then you also had Death Letter . Was there a sense of just doing things right?

The thing is, we had a lot of stuff planned ahead of time in 2012. Even I guess in 2010 and 2011, stuff had already been scheduled. I had sort of already made my decision and I thought I just needed to tell everybody where my head was at. It was a little bit weird for us to keep playing a bit. I think after 2010, it was a little bit strange, I think everybody was still trying to deal with the fact that I was going to walk away from the band for a bit. I think the reason we did those things in 2012 was to put an actual finishing touch on that part of our lives, you know?

It was announced, but then, like you said, we wanted to make sure we gave everyone a chance to see something that may never happen again. In my heart, I always hoped that we would play again but the reason I made it so definitive when I left the band was because I didn’t think it was fair to have everybody wait around. The band and the fans, I think everybody needed to have a bit of closure on that period. I think now that we’re back and playing and making music, it just feels like a new period, a new section of the history of our lives and the band. It doesn’t feel like we’ve been taking a break. It just feels like we’re starting over, in a good way.

You launched your own record label, Still Records recently. Is the new City and Colour album coming out this year?

Yeah, it’s on going to come out on my label. It should be out in the Fall. We’re just finishing the artwork and it got mastered last week. We’ll go on tour and it’s just something I’ve been taking my time with. In terms of being around to work on new Alexis stuff, since 2006, I’d been on tour with either Alexis or City and Colour and making records every year. I think at the end of 2017, I had finished touring If I Should Go Before You [2015] for two years and I thought I needed to take a year away from touring so much and going right back in the studio. I spent all of last year doing a bunch of different stuff, starting the record label, producing other bands and putting the live record out. Slowly, just making the new record and working on Alexis stuff – it just gave me time to do a bunch of other stuff.

You were the oldest in the band and therefore assigned the more “adult” responsibilities. What is that dynamic like now?

We’re all adults now. When we started, three of the guys were in high school still. It was a combination of me being older but also being the one that had a little bit more freedom – I had been out of high school for one or two years when we started the band. I think occasionally, we all look to each other for advice on life nowadays, because we’ve all grown up and experienced our own things. It’s more just a friendship.

It’s a total global tour of sorts in June. Have you ever had any offers from India? Has anyone ever been here?

Steele [Chris Steele, bassist] has been there traveling. After the band broke up, Steele traveled the world for like a year and a half, so he’s been to India. He had a long stay there. But none of us have been there for music. I’m not too sure if we’ve gotten offers from there, but we’d like to. We like to go everywhere, it’s a big world [ laughs ], just a matter of figuring out how to get there.  It’s just a matter of trying to go everywhere in the world where people are listening.

• Alexisonfire
• Chris Steele
• City and Colour
• Dallas Green
• George Pettit
• Jordan Hastings
• Wade Macneil

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Alexisonfire (formed in 2001) is a Canadian post-hardcore five-piece rock band, known for their use of both clean and screamo vocalists, hailing from St. Catherines, Ontario, Canada.

From the ashes of local Canadian bands Condemning Salem, Helicon Blue, and Plan 9, came the burning light that is Alexisonfire. Comprised of screamo vocalist George Pettit, clean vocalist and multi-instrumentalist Dallas Green, lead guitarist Wade MacNeil, bassist Chris Steele, and drummer Jesse Ingelevics, the band's name derives from the world’s only lactating contortionist stripper Alexis Fire. The band’s debut release arrived in 2002 with the EP “Math Sheet Demos”, after which Alexisonfire caught the attention of recording engineer Greg Below and journalist Mitch Joel. The group were subsequently signed by Below’s and Joel’s label Distort Entertainment, combined with a distribution deal with EMI.

The band’s eponymously-titled debut album was released in October 2002 when three of the group’s members were still only 17 years old. The album’s modest success was the result of word-of-mouth and led to Alexisonfire touring nationally before setting their sails for the U.S. and Europe alongside the likes of Billy Talent, GWAR, Godsmack, and Glassjaw. Following the release, the band were courted by major labels, however in developing their sophomore release saw it fit to retain their independence and creative licence.

In 2004 the full-length “Watch Out!” was released debuting at No. 6 on the Canadian Albums Chart. The album earned strong reviews from the critical press and marked a big progression since their debut – the band were now able to direct their aggression and emotion in a much more focused way. Following the release drummer Jesse Ingelevics announced he was leaving the band and was replaced by Jordan Hastings. Arguably the band’s most popular and successful album, 2006’s “Crisis” topped the Canadian Albums Chart and was extolled by critics. In support of “Crisis” Alexisonfire embarked on a worldwide tour including Canada, the UK, and the U.S. with fellow bands EveryTime I Die, Cancer Bats, and A Change of Pace.

Alexisonfire’s fourth studio album “Old Crows / Young Cardinals” was issued by Dine Alone Records in June 2009. Aided by the singles “Young Cardinals”, “Born and Raised”, and “The Northern”, the album once again topped the Canadian Albums chart and peaked at No. 81 on the Billboard 200, their highest U.S. charting to date. Following an extended hiatus where members focused on other projects, in March 2015 the band announced a string of comeback shows including Reading and Leeds, Sonic Boom, and Heavy Montréal festivals.

Live reviews

The Canadian quintet Alexisonfire were a hugely underrated band during their decade or so together. From their screamo beginnings, the band morphed into an interesting post-hardcore band, with their last two albums – Crisis (2006) and Old Crows/Young Cardinals (2009) – amounting to two of the finest records to come out of the genre. I’ll be honest, before Crisis I was never really a huge fan of their recorded output, but despite this I went to see them in London in 2005 and they completely won me over. George Pettit’s barked lead vocals were impressive, as was the tightness of the instrumentation, but it was guitarist-singer Dallas Green (aka City and Colour) and his divine voice that got my attention. A year later Crisis came out, which featured more melodic vocal parts from Green, and I became a true fan.

I saw them again a couple more times and they always delivered a wicked show, especially when they played stuff off Crisis, such as ‘Boiled Frogs’ and their finest moment, ‘This Could Be Anywhere In the World’, which sounded so powerful live. Both Green and co-guitarist Wade MacNeil, now fronting Gallows, were able to create subtle layers of distortion as well as melody beneath the rough riffs, and I always felt they never got the recognition they deserved. They reunited in 2012 for a brief final tour and I was gutted to have missed out on getting tickets, but I heard they were incredible.

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Canadian hardcore five piece have gifted their fans with the news of a reunion in early 2015 and are now set to take to the road once again with their cult like material. Their last visit to the UK was considered momentous and what was the alleged final show at London's Brixton Academy was a collation of ten years hard work and effort.

The setlist reached from across the discography in order to please the large fanbase gathered tonight. There was a real feeling of finality and every band member invested himself in the performance as an act of gratitude to their devoted UK fans. The audience repays this passion with huge singalong to choruses including 'This Could Be Anywhere in the World' and 'Young Cardinals'. As the group plays over twenty tracks, there is a feeling of collation regarding the setlist yet also aversion to a finale. As they appear for an encore, the musicians seem mournful and triumphant all at once asking for one final singalong to 'Happiness by the Kilowatt' which nearly lifts the roof clean off. Many fans will be rejoicing with the news, however it is unlikely the group will recreate the atmosphere within the venue that night.

Intense crowd, lots of shoving and crowd surfing BUT you should expect that from a performance from Alexisonfire! Lots of fun! Especially if you're a rock fan and can handle intense crowds! Alexisonfire performed an amazing show, especially after a 10 year hiatus, their crowd was super energetic as were they! First time seeing them, would def want to see them again! Thank you Alexisonfire for an amazing night!

9 years later and they still got it.

The last time I saw Alexisonfire was 2010 at the Bowery Ballroom in one of the best shows I ever attended. And 9 years later it's like they missed a beat.

They picked an almost perfect Setlist that had great high intensity songs followed by more intimate quiet ones, it was like being in the best emotional rollercoaster you could ask for.

sadly, the Alexisonfire concert was postponed due to an illness in the band. they have announced however that they will make the shows up that they had to miss. they haven't announced yet when those makeup dates will be, but i do look forward to hearing from them in a couple of weeks. eventually i'll get to go see Alexisonfire, unfortunately, it just wasn't last night

Definately going want to see them again. Very worth it

Took the stage with an incredible amount of energy and kept it through the entire show. Everyone was singing and moshing.

Definitely one of the better performances I have ever seen.

Best concert I've been to yet! Everyone and I mean everyone was singing along. The band put on a show and the fans where all so nice. I only wish they had a bigger line up but that really didn't matter since Alexisonfire put on a 2hr set.

This is the first time back to London in years and they nailed it. From the first song to the last the energy levels never dropped. I had forgotten how much I love this band. I won’t be repeating that mistake. 5/5

Absolutely amazing show!! MONEEN, QUICKSAND and ALEXIS were all fabulous! I haven't seen these guys in ages and they sounded exactly the same. The whole place was on their feet for the show! So amazing

Amazing setlist. Hands down must see. Vocals dead on band sounded amazing. Top notch from front to back. I highly recommend if your a fan of the band to see them. Dont know how long theyll be touring.

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A Conversation With Dallas Green (City And Colour)

• Post author By MAGNET Staff
• Post date April 4, 2023

Since City And Colour emerged in 2005 as a prettier, more refined offshoot to Alexisonfire (the influential Canadian hardcore outfit he co-founded), Dallas Green has ushered his singer/songwriter project through numerous permutations. But the common thread has always been his voice, an aching freak of nature that has the ability to wrench your heart from its chest cavity. It does exactly that on “Meant To Be,” the leadoff track to The Love Still Held Me Near (Still/Dine Alone), City And Colour’s first LP in four years.

Like many of us, the Juno Award-winning singer/songwriter has had a tough few years. Green’s pandemic angst was compounded by the loss of two close friends: cousin Nicholas Osczypko and City And Colour producer/engineer Karl Bareham, the latter whose drowning death inspired “Meant To Be.” Throw in Green’s trial separation with his wife, and you have a pretty solid explanation for why City And Colour’s seventh release can be a serious emotional workout at times.

Green worked through the grieving process with longtime band member Matt Kelly, who co-produced The Love Still Held Me Near , and he’s since reconciled with his wife. Chatting with MAGNET for the first time, he puts some perspective on the chain of unfortunate events that fueled his latest work.

Let’s get this out of the way right now—that voice. Do you ever see it as anything but an asset? One of the best things I have in my life is when I sing. Since I was very young and singing along to the records I loved, it always seemed to feel like more than just singing to me. It was a way of emoting that I couldn’t necessarily do by speaking. The answer I want to tell you is that I’ve never felt anything but great about it. But I do know that people have judged me and my music based on my voice. That’s something you learn when you sing for people half your life, and you realize you’re asking for their opinion, whether you want it or not. I’ve had people say really terrible things about my voice, and I’ve had them say really nice things, too. At this point, I’m just comfortable with it. I don’t think I’ve ever felt more comfortable with my voice—or who I wanted to be—than on this record.

Condolences on the loss of your two friends. How does mortality inform The Love Still Held Me Near ? I just don’t think there was any way to avoid it. There was so much tied to what we were all feeling about my friend Karl. It was so sudden, and he was out on tour with me. I’d made a couple of records with Karl producing with me. He was like a brother to me. I’ve always used City And Colour to kind of ruminate on things that are weighing me down. I wasn’t sure how I was going to address it at first. How do you make sure you’re going to speak elegantly about these things? But somewhere along the way, I started to realize that this is just what I do—I use this as a process to help myself through everything in my life.

This album has to be your most emotionally direct. I was working through such a heavy batch of emotions, so it needed to have this urgency to it. The record became more about me blossoming into this thing where I was healing—but healing out loud. I started to feel like I had to be as direct as possible.

What was it like co-producing with Matt Kelly? It was beautiful. Matt’s been playing with me for 10 years. When I started realizing I had a good batch of songs cooking, it coincided with COVID restrictions easing up and Matt being able to come visit me. As we started working on the songs, we realized there was this whole new version of our working relationship as we grieved together. When it came time for us to think about going into the studio, Matt became this sort of catalyst for me. He helped me get the vocal performance I wanted. He just sat at the board, and I got stoned and was like, “Let’s fuckin’ do it.”

“Meant To Be” and “Begin Again” resonate for so many reasons, and the vocals on both are heartbreaking. Was there ever any doubt that those songs would the album’s bookends? No. It really presented itself early in the process. “Begin Again” was the first song I started to write in February of 2020. When I finished it, it felt so joyful … It ended up feeling like the finale. And “Meant To Be” had to be the first song.

For someone who’s just discovering the City And Colour catalog, what two albums would you most recommend for newbies—aside from this one, of course. I’d say (2008’s) Bring Me Your Love , because it’s a good snapshot of the young me, and (2015’s) If Should Go Before You , where I really explored some musical territory I love. I wrote that record after really getting to know the guys I was touring with. It was a great period in my life.

On a personal note, you have the same name as one of the most famous Philadelphia Phillies managers. Is that a coincidence? Not at all. I was born Sept. 29, 1980. My mother wanted to name me Graham-Todd—hyphenated, by the way. My dad did not want to name me Graham-Todd. That year, he bet money on the Phillies to win the World Series. They did—and he named me Dallas Green. My father was a gamblin’ man.

—Hobart Rowland

City and Colour: “I Didn’t Know if I Was Going to Write Anything Ever Again”

By Brenton Harris

For droves of music fans around the world, there are few sounds more evocative than Dallas Green’s voice. Whether soaring above the chaotic sounds of post-hardcore outfit Alexisonfire or hovering dreamily over the tender musical modes of City and Colour , Green’s signature tone speaks straight to the soul of his fanbase.

Green has released six albums as City and Colour, and album seven,  The Love Still Held Me Near , is due out on Friday, 31st March. Green has deployed his voice in search of catharsis on each of his previous outings, penning songs of regret, grief, heartbreak and anxiety. This approach has yielded rich rewards, both commercially and artistically, allowing City and Colour to become so much more than just an Alexisonfire side project.

The Canadian songwriter is again seeking catharsis on  The Love Still Held Me Near , using music to navigate the grief that followed the death of his best friend. On the album’s first two singles, ‘Meant To Be’ and ‘Underground’, Green sounds neither angry nor in shock, but prepared to process the grief.

Music Feeds spoke to Green ahead of an Australian tour that includes the SummerSalt festival and headline shows. Green opened up about the inspiration behind and intentions of a record that he feared he’d never write.

City and Colour – ‘Underground’

Music Feeds: Dallas,  you’ve just announced your new album, The Love Still Held Me Near . Are you looking forward to sharing some of those songs with the Australian audience?  

Dallas Green:  I’ve been kind of sitting on this record for a little bit while we were off doing the Alexisonfire stuff, but I’m really, really proud of it, and it was a really emotional record to make. So, yes, I’m really looking forward to sharing it with everybody.

MF: The album will land less than a year after the latest Alexisonfire record. Does it feel like you’ve found a well of inspiration lately?

Dallas:  It does, but when we first started writing these songs, I didn’t really see it coming – and then all of a sudden, I just couldn’t stop. For a bit of context, 2019 was a very difficult year for me, and then at the beginning of 2020, with the pandemic kind of starting, I was in this really strange place in my life. I know it was really strange for everybody, but I think having had this really troubled year before it had put me in a really bad place – creatively and in my life.

I know that is a very cliché thing for a writer to say, but it was truly one of those points where I didn’t know if I was going to write anything else ever again, or if I would even want to play music. I had to have a serious conversation with myself and that led to this creative explosion where I just started writing. And then Alexis started jamming, and by the end of May 2021 I had made both records.

MF: What did it feel like to be experiencing such a sudden burst of creativity after all that soul-searching?

Dallas:  It was the most creatively explosive time I’ve ever had as a writer. I really did find a well of inspiration, but I still don’t know where it came from. All I do know is that I’ve usually written about things that are troubling me or weighing on me – I’ve always tried to write myself through those moments – but this was really astonishing to me, to be honest with you.

MF: Were the events that inspired these songs still occurring when you were writing? Or was this you processing their impact in the aftermath?

Dallas:  It was sort of the latter. In 2019, I lost my best friend, right before my last record came out. So I was promoting the record and I had no idea how to do it. I was not there at all, mentally and emotionally. It was really the world shutting down that caused me to have to sit there and process and think about how to talk myself through all of this stuff.

The record is really about me being as low as I’ve ever felt. It’s about feeling broken and torn apart and just trying to figure out how to put the pieces back together.

City and Colour – ‘Meant to Be’

MF: Your fans connect with your music in a deep and personal way, and your music has often been played at weddings and funerals. How does it feel knowing that your music has played a role in some of the best and worst days of people’s lives?

Dallas:  To be honest with you, it’s a complex thing to answer. I couldn’t be more grateful that the music that I write as a cathartic process has been able to translate into other people’s lives. When I was younger, all I wanted to do was to write a song that made somebody feel the way that I did when I heard the music that I loved.

I could never have imagined that people would play it when they were walking down the aisle or in memory of someone that’s gone. It’s an incredibly complex, nuanced feeling to explain. I don’t really know if I have the right words to express how knowing that makes me feel.

Sometimes it makes me feel sad that there are even situations in other people’s lives where they would have to play a song of mine because someone has passed, but at the same time, I understand that those experiences aren’t singular to one person.

‘Meant To Be’ is about the most devastating thing that has ever happened in my life, but I also understand that it’s not singular to my experience; it’s a thing that binds all of us as human beings. While we all differ and we all have different opinions and different cultures, there are some things that bring us all together – and the truest and most universal of those is death.

The Love Still Held Me Near is out on Friday, 31st March.

City and Colour 2023 Australian Tour

• Wednesday, 1st February – Enmore Theatre, Sydney NSW
• Tuesday, 7th February – Ulumbarra Theatre, Bendigo VIC
• Thursday, 9th February – Forum, Melbourne VIC
• Monday, 13th February – The Tivoli, Brisbane QLD

SummerSalt Festival w/Angus & Julia Stone, Ben Harper and more

• Friday, 27th January – Stage 88, Canberra, ACT
• Saturday, 28th January – Thomas Dalton Park, Wollongong, NSW
• Sunday, 29th January – Esplanade Park, Fremantle, WA
• Friday, 3rd February – Royal Botanical Gardens, Hobart, TAS
• Saturday, 4th February – Rochford Wines, Yarra Valley, VIC
• Sunday, 5th February – Torquay Common, Torquay, VIC
• Saturday, 11th February – Park Beach Reserve, Coffs Harbour, NSW
• Sunday, 12th February – Broadwater Parklands, Southport, QLD

Further Reading

Alexisonfire: “This is the Best Record We’ve Ever Done”

City and Colour Announces Headline Australian Dates for 2023

Angus & Julia Stone, Ben Harper and City And Colour To Play SummerSalt 2023

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CITY AND COLOUR + ALEXISONFIRE Announce a 4 Day Concert Series In Their Hometown

Alexisonfire, City and Colour, Dine Alone Records and Live Nation Canada have curated a very special line-up that will take over Montebello Park in the artists’ beloved hometown of St. Catharines from June 30 to July 3, 2022. Tickets for this all ages event go on sale Thursday, March 17 at 10am ET at ticketmaster.ca .

Alexisonfire and City and Colour have partnered with PLUS1 so that $1 from every ticket sold will be donated to the Indspire Building Brighter Futures Scholarship program through the City and Colour Indigenous Student Bursary and the Alexisonfire Indigenous Music Bursary , which were established in 2019 with the goal of supporting students as they complete their education and achieve academic success. To date Alexisonfire and City and Colour have donated over $120,000 combined.

Born & Raised is a celebration and homecoming for bandmates Dallas Green, George Pettit, Wade MacNeil, Chris Steele, and Jordan Hastings. Alexisonfire rose up out of the St. Catharines, Ontario underground in late 2001 with City and Colour’s Platinum certified album Sometimes debuting a few short years later in 2005. AOF released four hugely successful studio albums, all Music Canada Platinum-certified and would go on to define a generation of contemporary music in Canada and abroad. Now back with a vengeance, and on the heels of announcing their first studio album in over 13 years, Otherness, Alexisonfire, in partnership with Dallas Green’s multiple award-winning and critically acclaimed act City and Colour, is bringing the music back to where it all started. Featuring 4 nights of music, food, and drink in the city’s Montebello Park over the July long weekend, Born & Raised is a not-to-be missed concert event.

“Something special happens when Alexisonfire gets together,” says AOF vocalist George Pettit. “When we’re all on stage playing in the pocket, we elevate and the audience comes with us. Born & Raised is going to be a beautiful spectacle. City and Colour and AOF are returning to the very streets that created us, joined by a slew of great bands. Can’t wait.”

Joining Alexisonfire and City and Colour are longtime friends and very special guests, Billy Talent. The concert series also features a stellar line up of support acts including Broken Social Scene, Pup, Sam Roberts Band, Elliott, Hot Water Music, cleopatrick, Ruby Waters, Chastity, Dooms Children, NOBRO and The OBGMs.

The festival line up is as follows :

June 30 City and Colour Sam Roberts Band Ruby Waters Chastity

July 1 City and Colour Broken Social Scene Elliott Dooms Children

July 2 Alexisonfire Billy Talent – SPECIAL GUEST Hot Water Music NOBRO

July 3 Alexisonfire Pup cleopatrick The OBGMs

Alexisonfire also recently announced that Otherness , their first new album in 13 years will be released on June 24th. See the current pre-order bundles + listen to their new single ‘Sweet Dreams of Otherness’ here .

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Dallas Green of City and Colour Got His Knuckles Tattooed in Dallas

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City and Colour plays House of Blues on Friday, Aug. 25.

"When I wrote those songs, I never thought about things like that. I didn't think, 'Oh, this will be nice to get married to.' I was just writing myself out of something." – Dallas Green tweet this

City and Colour, 8 p.m. Friday, Aug. 25, House of Blues, 2200 N. Lamar St., $68.58 and up, livenation.com . 

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Album review: Alexisonfire – Otherness

Canadian post-hardcore godfathers Alexisonfire return with their first new album in almost 13 years. It’s very, very good…

They could have given Guns N’ Roses a run for their money, if they’d only waited a couple more years. Because if they had, then Otherness, Alexisonfire ’s fifth full-length, would have beaten the lengthy 15-year gap between GN’R’s 1993 record, their The Spaghetti Incident? covers album, and 2008’s return Chinese Democracy. As it happens, Otherness comes just over 12 years after its predecessor, 2009’s Old Crows/Young Cardinals. Thankfully – and unlike The Spaghetti Incident? – this record is very much worth the wait.

It opens with the scuzzy and insistent riff of Committed To The Con, a hypnotically propulsive lick that soon gives way to a barrage of vocals courtesy of George Pettit, Wade MacNeil and Dallas Green. Moody and uncomfortable, it’s a definite statement that Alexisonfire are back, and have returned on their own terms. Certainly, there are echoes of their resplendently caustic past within its desert rock soundscape, but there’s more a sense of breaking free from the constraints of the past, which it does very successfully.

If that didn’t continue beyond that opener, it would be a real shame, but it’s no one-off. The stunning Sweet Dreams Of Otherness is a burning behemoth of raging psychedelia – think Wade’s Dooms Children project on steroids and turned up to 11 – while Sans Soleil is a gorgeous, almost proggy anthem about overcoming an episode of depressive self-loathing that’s as poignant as it is powerful.

Elsewhere, Dark Night Of The Soul starts off with an unexpected quasi-gospel a cappella vocals before shifting into a bludgeoning, doom-laden burst of post-hardcore, before shifting once again into something that sounds like John Carpenter on psychedelics. Which, if you were wondering, is a very good thing.

Those creepy strains of synth are also present at the start of Survivor’s Guilt – another song that starts on this planet before ascending to an astral plain somewhere in the darkest depths of the universe, while Reverse The Curse is a blistering post-hardcore song full of nuanced melodic textures.

But perhaps the best song to really understand what – or perhaps who – Alexisonfire have become on Otherness is final track World Stops Turning. Epic for all of its eight minutes and 16 seconds, it’s a track that, musically, spans decades – from the ’60s to now – and which, as it reaches its larger-than-life crescendo feels like the skies opening up before life as we know it ceases to exist. It doesn’t matter if you don’t believe in God – it still feels spiritual.

A phenomenal finale to an incredible (and long overdue) return.

Verdict: 5/5

For Fans Of: Kyuss, Thrice, Fucked Up

Otherness is released on Dine Alone on June 24

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Alexisonfire announce 2023 Australian tour

• X (formerly Twitter)

People got very excited when celebrated Canadian artist Dallas Green announced he was bringing City And Colour back to Australia for a series of theatre shows and festival dates in the early part of 2023.

Now it's time fans of his heavier work to get fired up, because Alexisonfire have today confirmed their first Australian tour since 2017, which will happen just after the City And Colour dates wrap up.

It's great timing, as the band have just recently released Otherness , their fifth album and first in 13 years.

It's an incredibly strong return from the band, who swore they wouldn't release any new music unless they felt it was really the right thing to do.

"As much as we love playing the old songs, we don’t want to be a nostalgia act," frontman George Pettit said in a statement.

"The only reason to come back is if we feel we still have something to say."

The band took a few years off at the start of the 2010s and were blown away to discover their popularity hadn't dwindled one bit while they were away. Most importantly, when they got back together, the magic was still there.

"Coming back to Alexisonfire is a purely enjoyable creative venture," Petit said. "Something special happens when we get in a room together."

Green recently got the chance to Take 5 on Mornings with Zan Rowe, picking a broad selection on songs that offered a great insight into the music that's been inspiring him of late. Hear it below.

When the band return to Australia in February, they'll play huge along the east coast and in Adelaide.

It's the eighth time they've toured here – safe to say those first shows were a little bit smaller than these ones – and anyone who has had the pleasure of seeing them in the past will attest to the consistent power of their performances.

As if this news wasn't exciting enough, they'll also bring Tasmanian punk favourites Luca Brasi along for the ride, making this an unmissable night of high quality, emotive punk rock.

Catch them playing the following shows. Tickets are on sale Thursday 17 November.

Friday 17 February – The Fortitude Music Hall, Brisbane

Monday 20 February – Enmore Theatre, Sydney

Friday 24 February – The Forum, Melbourne

Monday 27 February – Hindley Street Music Hall, Adelaide

Dallas Green

Microphones 2

Amplifiers 7, effects pedals 40, music accessories 4, studio equipment 1, headphones 1.

1944 Martin OO-17

Steel-string Acoustic Guitars

At 0:44 in this video, Dallas tells a touching story of how he got this beautiful guitar. "

“My friend Dan Aiken who owned the studio and recorded the record - he was a vintage guitar guy he owned a bunch of old crazy guitars in the studio - and he found me this one from British Columbia ...

Submitted over 9 years ago

Martin 00-17

As you will hear in the interview from the proof video, Dallas had gotten this guitar from his friend and producer Dan when he recorded his second album "Bring Me Your Love" back in 2007. After his friend passed away, the guitar "sort of took on a whole new life". "It was already something sentim...

Submitted almost 9 years ago

Fender Jazzmaster

Solid Body Electric Guitars

The proof source is a concert video when Dallas Green (as City and Colour) played at Tonhalle, Munich in 2014. A person can find Dallas Green playing a Fender Jazzmaster multiple times.

Submitted over 8 years ago

Gibson ES 335 Studio

Semi-Hollowbody Electric Guitars

Used during Dallas' performances with Alexisonfire, and sometimes with City and Colour. Dallas has added a Bigsby tremmolo to this model.

Submitted over 6 years ago

1976 Gibson ES-335

In this video Dallas Green plays as City and Colour, preforming Weightless on a custom Gibson ES-335.

G&L Tribute Rampage Ivory

Dallas has been playing this guitar with Alexisonfire. When he was on tour with Alice In Chains, it was gifted to him by Jerry Cantrell himself! Mentioned as a part of the rig in November 2022 Guitar World interview.

Submitted almost 5 years ago

Gibson ES-335TD Electric Guitar

Dallas Green uses this guitar when he played in the Bravo! Live Concert Hall in 2008. Dallas Green uses often for his solo project City and Colour.

Fender Jazzmaster (Duplicate)

With Alexisonfire, Dallas occasionally uses a Jazzmaster with block inlays and a unique brown finish.

Gretsch G5034TFT Rancher

Acoustic-Electric Guitars

Dallas used this guitar on his 2015 US/Canada Tour

Fender 65 Princeton Reverb 15W 1x10 Tube Guitar Combo Amp

Combo Guitar Amplifiers

The very first words said by Dallas in this video are about "the Princeton Reverb amp".

Submitted almost 7 years ago

Eastwood Airline Jupiter Pro Dallas Green Signature

According to Premier Guitar

Last year Eastwood teamed up with signer/songwriter and vintage guitar enthusiast Dallas Green from City and Colour to fine-tune the Jupiter for modern playability. The main structural changes included replacing the wooden bridge with a modern tun-o-matic bridg...

National Style 0 Resonator

Although Dallas has never used a resonator live, he likes to warm up with it.

Gibson ES 355

This is the (very) dark brown ES-355 Dallas recieved as a gift from the late Dan Achen. It's used in the Weightless video and Dallas has modified it since:

"I’ve had this...

Gibson ES-120T

Dallas begins using this guitar at 14:57 into this video and continues using it for the remainder of the set. He has always been a vintage guitar fan, I'm not sure of the year of this guitar but I know he has a 70s ES 335, a 62 and 66 Jazzmaster, and a 40s Martin. This seems to be a new addition ...

Submitted over 4 years ago

Martin 12-fret Custom Dreadnought with Orange Sunburst

‘The closest guitar to me is my new Martin. Martin Guitars, who I am endorsed by and play religiously, built me a custom shop acoustic. Myself and Fred at the custom shop collaborated on some ideas. To me it’s the most beautiful thing I’ve ever seen in my life. It’s sort of a mixture of the two g...

Submitted about 8 years ago

EarthQuaker Devices Hoof V1

Fuzz Effects Pedals

Dallas Green: “The Hoof Fuzz is pretty awesome and kind of Big Muff-y. For Woman, which is a pretty long song, I use the Deco tape saturation for the first big ‘open up’ part and then, for the end, I use the Hoof Fuzz.”

Martin HD-28V Custom Shop

The Martin HD-28V Custom Shop is used as his main acoustic, the model has a slotted headstock, a shorter scale neck, sunburst.

Martin 00 12 Fret Custom

Dallas can be seen playing this Martin 00 12 fret in various videos for intimate solo acoustic performances.

Fender Telecaster American Vintage 52'

The Tele is part of Dallas' Alexisonfire rig.

Walrus Audio Janus

Multi Effects Pedals

This Instagram post by Walrus Audio is captioned, "Sending these toys off to @cityandcolour_official today."

Submitted about 9 years ago

Harmony Stratotone Electric Guitar

Dallas Green: “I found that it works perfectly for two songs in the set, Wasted Love and Killing Time. With the sound of these gold foil pickups, it just makes perfect sense for them. This also gets capo’d, on two or three, and then it’s also used in standard tuning.”

Matchless 30/15 Tube Amp

Dallas Green: “This Matchless, which I found in a music shop in Toronto, is great and so simple. It has a master volume, volume and tone, and you can switch it from 15 to 30 watts. I love it. “There’s a 1x12 in there. It’s crisp, clear and it takes pedals really well. I’ve got this Morgan AC45 ou...

Gibson ES-125

In the video of Dallas performing at the Juno awards, he is playing a Gibson ES-125

Supro Martinique Electric Guitar

There is a good shot of him using it to record a song on the Little Hell album at 13:28 in this video.

Martin D 28

"I have the 1944 00-17, which is sort of a smaller body, which I use for fingerpicking and solo stuff, the other guitar is a 67 D-28, which I kind of play more with the band."

Fender Jaguar

As seen on twitter.

Submitted about 6 years ago

LR Baggs M1A Active Soundhole Magnetic Pickup

Dallas can be seen using the LR Baggs pickup in this video. In a post on LR Baggs' website , Dallas explains his love for the M1. "It's hard to make an acoustic guitar sound just as good in front of 10,000 people a...

Line 6 DL4 Delay Modeler

Delay Effects Pedals

"Here's another shot of Dallas' board.

From the top right to left: Boss NS2, EHX holy Grail, telenordia TA100, Keeley Katana, MXR Micro AMp. Bottom Row: Boss TU2, Boss RV5 Reverb, MXR Carbon Copy, line 6 DL4"

Death By Audio Echo Dream 2

Dallas Green: “This is what I call a ‘world-ender’! You step on it and it sounds like everything is destroying… it’s got fuzz and delay and I use it for the ends of songs when we’re freaking out, just having fun.”

JHS Morning Glory

Overdrive Effects Pedals

Can be seen in the pedalboard photo

This is a community-built gear list for Dallas Green.

• Find relevant music gear like microphones, guitar rig, amplifier setup, effects pedalboard, software, keyboards, and other instruments and add it to Dallas Green .
• The best places to look for gear usage are typically on the artist's social media , YouTube, live performance images , and interviews.
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Gear Guides

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